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Books on the topic 'Persona (film)'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Film and the interpretive process: A study of Blow-Up, Rashomon, Citizen Kane, 8 1/2, Vertigo, and Persona. New York: P. Lang, 1989.

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Zeldin, Richard P. Personal forms on file. [New York, NY]: Facts on File, 2001.

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3

Personal visions: Conversations with independent film-makers. London: Constable, 1999.

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Personal visions: Conversations with contemporary film directors. Los Angeles: Silman-James Press, 2000.

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5

Clarke, Katherine. The deception of the films 'Persona'. [Derby]: Derbyshire College of Higher Education, 1988.

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6

The multi-protagonist film. New York: Wiley-Blackwell, 2010.

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7

Ash, Timothy Garton. The file: A personal history. Hammersmith, London: HarperCollinsPublishers, 1997.

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8

Ash, Timothy Garton. The file: A personal history. New York, USA: HarperCollins, 1997.

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9

Fieldhouse, Richard. Personal Oracle8 Explorer. Albany, NY: Coriolis Group Books, 1998.

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10

Film noir: A comprehensive, illustrated reference to movies, terms, and persons. Jefferson, N.C: McFarland, 1995.

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11

Corcoran, Jay. Undetectable: A film by Jay Corcoran. [Alexandria, Va.]: PBS, 2001.

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12

Gorham, Kenneth D. Personal productivity with DOS. 2nd ed. Dubuque, IA: Wm. C. Brown Publishers, 1992.

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13

Gorham, Kenneth D. Personal productivity with DOS. Dubuque, IA: Wm.C. Brown Publishers, 1988.

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14

Martin, Adrian. Mysteries of Cinema. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986831.

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The major essays of the distinguished and prolific Australian-born film critic Adrian Martin have long been difficult to access, so this anthology, which collects highlights of his work in one volume, will be welcomed throughout film studies. Martin offers indepth analysis of many genres of films while providing a broad understanding of the history of cinema and the history of film criticism and culture. These vibrant, highly personal essays, written between 1982 and 2016, balance breadth across cinema theory with almost encyclopedic detail, ranging between aesthetics, cinephilia, film genre, criticism, philosophy, and cultural politics. Mysteries of Cinema circumscribes a special cultural period that began with the dream of critique as a form of poetic writing, and today arrives at collaborative experiments in audiovisual essays. Throughout these essays, Martin pursues a particular vision of what cinema has been, what it is, and what it still could be.

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15

Bruce, Mowday, and Gunden June, eds. Life with flavor!: A personal history of Herr Foods. Fort Lee, NJ: Barricade Books, 2012.

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16

Personal productivity using dBASE IV. Dubuque, IA: Business & Educational Technologies, 1994.

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17

Gorham, Kenneth D. Personal productivity with WordStar. Dubuque, Iowa: W.C. Brown, 1987.

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18

Lockman, David. Developing Personal Oracle7 applications. Indianapolis, Ind: Sams Pub., 1995.

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19

Schickel on film: Encounters--critical and personal--with movie immortals. New York: W. Morrow, 1989.

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20

Lloyd, Michaels, ed. Ingmar Bergman's Persona. Cambridge [England]: Cambridge University Press, 2000.

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21

The persona of Ingmar Bergman: Conquering demons through film. 2015.

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22

Origins of the Film Star System: Persona, Publicity and Economics in Early Cinema. I. B. Tauris & Company, Limited, 2019.

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23

Xiao, Ying. Chinese Rock ‘n’ Roll Film and Cui Jian on Screen. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0006.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. During the 1980s and 1990s, China experienced an explosion of films for youth, imbued with the aesthetic and ethic of rock ‘n’ roll. This chapter examines a variety of films, from the countercultural to the more mainstream, focusing on the voice, image, persona, and iconography of Cui Jian, and offering an audiovisual perspective on urban youth cinema and Chinese rock. The emergence and development of Chinese rock ‘n’ roll film from the late 1980s to the twenty-first century resulted from widespread, multifaceted transformations in postsocialist China. At the core of this rock imaginary is the aesthetic of cinema vérité and postsocialist realism. In sync with the kaleidoscopic manifestation of the cityscape and long tracking shots of protagonists roaming the metropolis, rock music and the hand-held mobile camera seek to document a reality of postmodern life and capture a feeling of postsocialist anxiety-a concern for realism articulated through dialogue and ambient sound.

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24

Tulloch, John, and Belinda Middleweek. Beyond High Theories of Intimacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0012.

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Chapter 10 explores the ways in which intertexuality within and between the stages of writing, directing, and performing the film The Piano Teacher create a multi-authored text. In the absence of an ethnography of production impossible for films made in the past, the authors devised a “soft ethnography” approach focused on some key players in this “multiply authored” semiotic model (namely, the prize-winning author, director, and lead actor) to suggest the flow and feedback between these different “signatures” in the text. This soft ethnography is grounded in knowledge of the writer’s discursive history and politics, the director’s television/film sense of liberation via “obscene” cinema, and the actor’s “directing” (via her construction of character) through her performance as a developing part of her star persona. These personal/public negotiations are symptomatic of the reflexive “synthesize and extend” interdisciplinary approach of Real Sex Cinema.

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25

MacDonald, Scott. American Ethnographic Film and Personal Documentary: The Cambridge Turn. University of California Press, 2013.

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26

American Ethnographic Film And Personal Documentary The Cambridge Turn. University of California Press, 2013.

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27

MacDonald, Scott. American Ethnographic Film and Personal Documentary: The Cambridge Turn. University of California Press, 2013.

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28

Estanove, Laurence, Adrian Grafe, Andrew McKeown, and Claire Hélie, eds. 21st-Century Dylan. Bloomsbury Publishing Inc, 2021. http://dx.doi.org/10.5040/9781501363726.

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Bob Dylan has constantly reinvented the persona known as “Bob Dylan,” renewing the performance possibilities inherent in his songs, from acoustic folk, to electric rock and a late, hybrid style which even hints at so-called world music and Latin American tones. Then in 2016, his achievements outside of performance – as a songwriter – were acknowledged when he was awarded the Nobel Literature Prize. Dylan has never ceased to broaden the range of his creative identity, taking in painting, film, acting and prose writing, as well as advertising and even own-brand commercial production. The book highlights how Dylan has brought his persona(e) to different art forms and cultural arenas, and how they in turn have also created these personae. This volume consists of multidisciplinary essays written by cultural historians, musicologists, literary academics and film experts, including contributions by critics Christopher Ricks and Nina Goss. Together, the essays reveal Dylan’s continuing artistic development and self-fashioning, as well as the making of a certain legitimized Dylan through critical and public recognition in the new millennium. This volume seeks to reflect the range of Bob Dylan’s multiple activities, the ‘late style’ of his creativity and his personae in all their later variety, from the Time Out of Mind album (1997) up to the release in March 2020 of ‘Murder Most Foul’. Bob Dylan (born 1941) is perhaps best-known as a singer and songwriter whose major impact occurred several decades ago. His achievements as a songwriter and master of language were – provocatively? – acknowledged when he was awarded the 2016 Nobel Literature Prize. However, Dylan has never ceased to broaden the range of his creative identity, especially through intermediality, taking in painting, film, acting, radio-presenting and prose writing, as well as advertising and even own-brand commercial production, either reinforcing or calling into question his perceived authenticity. The book highlights how Dylan has brought his persona(e) to different art forms and cultural arenas, and how they in turn have also created these personae. Chronicles, Volume One, his autobiography, charts his beginnings as a folk singer and the later recording of the Oh Mercy album. In terms of his identity as a visual artist, while Dylan’s Revisionist Art exhibition focused on his reworkings of magazine covers, the Brazil Series paintings show him extending his visual creativity to cultural spaces beyond the United States. Dylan has constantly reinvented the persona known as ‘Bob Dylan’.

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29

American Ethnographic Film And Personal Documentary The Cambridge Turn. University of California Press, 2013.

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30

Zeldin, Richard P. Personal Forms On File (Personal Forms on File). Facts on File, 2005.

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31

Gallese, Vittorio, and Michele Guerra. The Empathic Screen. Translated by Frances Anderson. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198793533.001.0001.

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Why do people go to the movies? What does it mean to watch a movie? To what extent does our perception of the fictional nature of movies differ from our daily perception of the real world? The authors, a neuroscientist and a film theorist, propose a new multidisciplinary approach to images and film that can provide answers to these questions. According to the authors, film art, based on the interaction between spectators and the world on the screen, and often described in terms of immersion, impressions of reality, simulation, and involvement of the spectator’s body in the fictitious world he inhabits, can be reconsidered from a neuroscientific perspective, which examines the brain and its close relationship to the body. They propose a new model of perception—embodied simulation—elaborated on the basis of neuroscientific investigation, to demonstrate the role played by sensorimotor and affect-related brain circuits in cognition and film experience. Scenes from famous films, like Notorious, The Shining, Full Metal Jacket, Persona, The Silence of the Lambs, and Toy Story are described and analyzed according to this multidisciplinary approach, and used as case studies to discuss the embodied simulation model. The aim is to shed new light on the multiple resonance mechanisms that constitute one of the great secrets of cinematographic art, and to reflect on the power of moving images, which increasingly are part of our everyday life.

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32

Zeldin, Richard P. Personal Forms on File 2004 (Personal Forms on File). Facts on File, 2004.

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33

Zeldin, Richard P. Personal Forms on File (Personal Forms on File, 2000). Facts on File, 2000.

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34

Zeldin, Richard P. Personal Forms on File, 2003 (Personal Forms on File). Facts on File, 2003.

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35

File, Inc Facts on. Personal Forms on File, 2007 (Personal Forms on File). Facts on File, 2007.

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36

Fof. Personal Forms on File (Personal Forms on File (Updates)). Facts on File, 1996.

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37

Zeldin, Richard P. Personal Forms on File 2006 (Personal Forms on File). Facts on File, 2006.

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38

Iranian Film and Persian Literature. Mazda Pub, 2016.

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39

Hobbs, Simon. Cultivating Extreme Art Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427371.001.0001.

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The use of hard-core sex and brutal violence in films such as Antichrist, Romance and Irreversible has been branded by many as an unsophisticated attempt to attract audiences. These accusations of gimmickry have been directed towards a range of extreme art films, however they have rarely been explored in detail. This book therefore seeks to investigate the validity of these claims by considering the extent to which these often infamous sequences of extremity inform the commercial identity of the film. Through close textual analysis of various paratexts, the book examines how sleeve designs, blurbs, and special features manage these extreme reputations, and the extent to which they exploit the supposed value of extremity. The book positions the tangible home video product as a bearer of meaning, capable of defining the public persona of the film. The book explores the ways home video artefacts communicate to both highbrow and lowbrow audiences by drawing from contradicting marketing traditions, as well as examining the means through which they breach long-standing taste distinctions. Including case studies from both art cinema and exploitation cinema – such as Cannibal Holocaust, Salò, Or the 120 Days of Sodom, Weekend and Antichrist – the book explores the complicated dichotomies between these cinematic traditions, offering a fluid history of extreme art cinema while challenging existing accounts of the field. Ultimately, the book argues that extremity – far from being a simple marketing tool – is a complex and multifaceted commercial symbol.

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40

P, Zeldin Richard, and Facts on File Inc, eds. Personal forms on file. New York: Facts on File, 1997.

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41

P, Zeldin Richard, and Facts on File Inc, eds. Personal forms on file. New York: Facts on File, 2004.

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42

File: A Personal History. Atlantic Books, Limited, 2015.

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43

Zeldin, Richard P. Personal Forms on File. Facts on File, 1994.

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44

Group, Diagram, and Facts on File Inc. Personal Forms on File 1998 Update (Personal Forms on File Update). Facts on File, 1998.

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45

Fof. Personal Forms on File 1995 Update (Personal Forms on File (Updates)). Facts on File Inc, 1995.

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46

Editors. Personal Forms on File Update 1994 (Personal Forms on File (Updates)). Facts on File, 1994.

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47

File, Facts on. Personal Forms on File Update 2004 (Personal Forms on File Update). Facts on File, 2004.

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48

Chambers, James. Personal Forms On File: 2005 Update (Personal Forms on File Update). Facts on File, 2005.

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49

File, Facts on. Personal Forms on File 2003 Update (Personal Forms on File Update). Facts on File, 2003.

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50

File, Inc Facts on. Personal Forms on File, 2007 Update (Personal Forms on File Update). Facts on File, 2007.

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