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Books on the topic 'Symbolism in film'

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Published: 24 April 2022

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1

Symbols, images & codes: The secret language of meaning in film, tv, games and visual media. Studio City, CA: Michael Wiese Productions, 2010.

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2

Semiotics of exile in contemporary Chinese film. New York, NY: Palgrave Macmillan, 2012.

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3

Lozac'hmeur, Jean-Claude. Fils de la veuve: Essai sur le symbolisme maçonnique. Vailly-sur-Sauldre: Editions Sainte Jeanne d'Arc, 1990.

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4

Fashion in film. Bloomington: Indiana University Press, 2011.

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5

Salome and Judas in the cave of sex: The grotesque : origins, iconograpy, techniques. Evanston, Ill: Northwestern University Press, 1987.

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6

Balanzategui, Jessica. The Uncanny Child in Transnational Cinema. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986510.

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The Uncanny Child in Transnational Cinema illustrates how global horror film depictions of children re-conceptualised childhood at the turn of the twenty-first century. By analysing an influential body of transnational horror films, largely stemming from Spain, Japan, and the US, Jessica Balanzategui shows how millennial uncanny child characters resist embodying growth and futurity, unravelling concepts to which the child's symbolic function is typically bound. The book proposes that complex cultural and industrial shifts at the turn of the millennium resulted in these potent cinematic renegotiations of the concept of childhood. By demonstrating both the culturally specific and globally resonant properties of these frightening visions of children who refuse to grow up, the book outlines the conceptual and aesthetic mechanisms by which long entrenched ideologies of futurity, national progress, and teleological history started to waver at the turn of the twenty-first century.
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7

Inc, Facts on File, ed. The Facts on File dictionary of numerical allusions. New York, N.Y: Facts on File Publications, 1986.

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8

Jackowski, Nannette. Ambiguous spaces: NaJa & deOstos. New York: Princeton Architectural Press, 2008.

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9

Jackowski, Nannette. Ambiguous spaces: NaJa & deOstos. New York: Princeton Architectural Press, 2008.

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10

de, Ostos Ricardo, ed. Ambiguous spaces: NaJa & deOstos. New York: Princeton Architectural Press, 2008.

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11

Logica dei dipendenti e indipendenti: Saggio critico-introduttivo alla logica filo-indipendente di Hintikka. Milano: F. Angeli, 2009.

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12

Dian ying wen hua yi xiang: The cultural images of films. Taibei Shi: Xiu wei zi xun ke ji gu fen you xian gong si, 2011.

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13

Dian ying wen hua yi xiang: The cultural images of films. Taibei Shi: Xiu wei zi xun ke ji gu fen you xian gong si, 2011.

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14

Hovest, Benedikt Grosse. Die Firma Becker-Brockhinke, eine Altarbauwerkstatt des Historismus. Aachen: Shaker, 1998.

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15

Keys, legends, and symbols in maps. New York: PowerKids Press, 2012.

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16

Prieto, Manolo. Manolo Prieto y el toro Osborne: Sala de exposiciones, Plaza de España, febrero-abril 1996. [Madrid]: Comunidad de Madrid, 1995.

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17

1965-, Rawlinson Ian, and FACT (Great Britain), eds. At 25 metres. Liverpool: FACT, 2007.

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18

Richter-Gebert, Jürgen. User manual for the interactive geometry software Cinderella. Berlin: Springer, 2000.

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19

Reed, Tom. An illustrator guide to type effects and logo-building. New York: Tumblereed Design & Training, 1997.

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20

Cornil, Jack-Michel. Maple: Introduction raisonnée à l'usage de l'étudiant, de l'ingénieur et du chercheur. Berlin: Springer, 1995.

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21

Blumentrath, Hendrik. Blutbilder: Mediale Zirkulationen einer Körperflüssigkeit. Bielefeld: Aisthesis, 2004.

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22

LINE dong tai tie tu zi ji hua: Zhua zhu dong gan tie tu xin shang ji, yi qi lai jian zhi zuan wai kuai. Taibei Shi: Qi feng zi xun gu fen you xian gong si, 2016.

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23

Danny, Graydon, ed. The superhero costume: Identity and disguise in fact and fiction. London: Bloomsbury Academic, 2015.

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24

Shui shuo wo bu hui hua LINE tie tu: Zhu ti she ji + hui tu + shang jia de da ren yang cheng shu. Xinbei Shi: Bo shuo wen hua gu fen you xian gong si, 2017.

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25

Chiesa di Sant'Uberto (Venaria Reale, Italy) and Intesa Sanpaolo (Firm), eds. L'Oratorio della Compagnia di San Paolo a Torino: Il restauro del ciclo pittorico nelle collezioni Intesa Sanpaolo. Torino: Intesa Sanpaolo, 2013.

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26

Shi shang zui qiang: LINE dong tai tie tu : she ji, xing xiao, jing ying bi sha ji. Xinbei Shi: Bo shuo wen hua gu fen you xian gong si, 2016.

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27

Requena, Jesús González. El espot publicitario: Las metamorfosis del deseo. Madrid: Cátedra, 1995.

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28

Cosmology and eschatology in Jewish and Christian apocalypticism. Leiden: E.J. Brill, 1996.

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29

Opacity in the writings of Robbe-Grillet, Pinter, and Zach: A study in the poetics of absurd literature. Lewiston [N.Y.]: E. Mellen Press, 1991.

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30

Lacan in Literature and Film: Closer Look at Formation of Subjectivity in Lacanian Epistemology. Academica Press, 2015.

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31

Las Vegas In The Rearview Mirror The City In Theory Photography And Film. ROUNDHOUSE PUBLISHING GROUP, 2013.

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32

Williams, Tami. Dulac’s Aesthetic Matures. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0004.

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This chapter illustrates Dulac's gradual shift from scenic naturalism and pictorial symbolism to the use of film-specific technical effects, and a choreography and montage-based notion of “rhythm within and between the images” in her feminist classic La Souriante Madame Beudet (1923), her subversive short L'Invitation au voyage (1927), and in a new restoration of her first surrealist film La Coquille et le clergyman (1927). The chapter also analyzes Dulac's lesser known La Folie des vaillants (1925), which among her narrative films comes closest to fulfilling her ideals of a “visual symphony” and a “pure cinema” free from the conventions of literature and theater.
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33

Macht: Performativität, Performanz und Polittheater seit 1990. Würzburg: Königshausen & Neumann, 2005.

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34

Berg, Nicole M. Discovering Kubrick's Symbolism: The Secrets of the Films. McFarland & Company, Incorporated Publishers, 2020.

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35

Radner, Hilary, and Alistair Fox. Film Analysis and the Symbolic. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0007.

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Raymond Bellour explains the difference between Christian Metz’s semiological approach and his own approach to film analysis, and the degrees by which he became disenchanted with psychoanalysis, despite his debt to Lacan’s notion of the imaginary, the real, and the symbolic. With reference to his analysis of Alfred Hitchcock’s North by Northwest, he proceeds to comment on how he evolved such key notions as “symbolic blockage” (“le blocage symbolique”) and “the undiscoverable text” (also referred to as “the unattainable text” or “le texte introuvable”). He then describes the influence of Anti-Oedipus by Gilles Deleuze and Félix Guattari, and his interest in American cinema and filmmakers like Alfred Hitchcock, Michael Curtiz, and Fritz Lang.
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36

Gracey, James. The Company of Wolves. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325314.001.0001.

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Co-written by Irish filmmaker Neil Jordan and British novelist Angela Carter, and based on several short stories from Carter's collection The Bloody Chamber, The Company of Wolves (1984) is a provocative reinvention of the fairy tale of Little Red Riding Hood. Unraveling a feverish metaphor for the blossoming of a young girl's sexuality and her subsequent loss of innocence, the film entwines symbolism and metaphor with striking visuals and grisly effects. Released in the early 1980s, a time which produced several classic werewolf films (including An American Werewolf in London and The Howling), The Company of Wolves sets itself apart from the pack with its overtly literary roots, feminist stance, and art-house leanings. The film's narrative takes the form of a puzzle box, unfolding as dreams within dreams, and stories within stories, which lead further into the dark woods of the protagonist's psyche, as she finds herself on the cusp of womanhood. The book explores all these aspects, as well as placing the film in the context of the careers of its creators and its position as an example of the “Female Gothic.”
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37

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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38

Laverty, Christopher. Fashion in film. 2016.

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39

Fashion in Film. King Publishing, Laurence, 2021.

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40

Williams, Tami. Negotiating Art and Industry in the Postwar Context. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0003.

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This chapter studies several of Dulac's early narrative Impressionist films, and her ideal of cinema as a spatiotemporally complex universe of symbols—one in which meaning is created through an intertextual network of figurative associations, such as pictorial and rhythmic gesture. Dulac's integral approach, based on life, movement, and rhythm, exemplified in a surviving extract of what is considered the first Impressionist film, La Fête espagnole (1920), is used in a particularly innovative and feminist manner in one of her earliest extant films, La Belle Dame sans merci (1921). Dulac's use of dance as a discursive metaphor disrupts a heteronormative, monogamous, and linear narrative structure, creating a queer subtext in her later films, both commercial and avant-garde.
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41

Williams, Tami. “How I Became a Film Director”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0001.

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This chapter explores Germaine Dulac's family background, drawing on personal records, memoirs, and correspondence. Her early upbringing and encounters with certain people, events, and tendencies during France's Belle Époque later impacted Dulac's political and aesthetic views and the many alternatives and choices that shaped her film career. These include the influence of moderate socialism on her views of class, gender, sexuality, and national politics, and the impact of nineteenth-century symbolist and naturalist tendencies on her inventive rhetorical and representational strategies as they contributed to her filmmaking and activism. The chapter examines Dulac's “women's portraits,” as well as her early political activities and nonfiction writings as a pacifist and feminist from 1906 to 1913.
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42

The Mathematica GuideBook for Symbolics (w/ DVD). Springer, 2005.

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43

Radner, Hilary, and Alistair Fox. Film Analysis: Image and Movement. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0002.

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This chapter assesses Raymond Bellour’s contribution to the area of research known as “film analysis,” arguing that it is best understood as an “art” rather than a scientific practice. Grounded in the French tradition of “explication du texte” as a means of approaching literature, Bellour was among the first film scholars to bring a French literary sensibility to the analysis of Classical Hollywood film, which enabled him to recognize the rhetorical refinements of the cinematic medium and its potential for poetic expression. The chapter explores the significant concepts that define Bellour’s approach: segmentation; “the unattainable text” (also referred to as “the undiscoverable text” or “le texte introuvable”); le blocage symbolique (also referred to as “the symbolic blockage”);“the textual volume”; Hitchcock and psychoanalysis; and enunciation.
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44

Dressing dangerously: Dysfunctional fashion in film. Yale University Press, 2013.

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45

Hermansson, Casie. Filming the Children's Book. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474413565.001.0001.

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Children’s metafictions have their roots in literacy pedagogy and entertainment, and remain enormously popular both with authors, readers, and teachers. But they pose a number of unique challenges to screen adaptation. While – arguably – audiences of children’s adaptations prefer that the adaptation adhere to the source as closely as possible, in the case of metafiction its defining ‘meta’ element does not directly transmediate. Yet a more direct filmic equivalence for metafiction – metafilm – reflects filmicity rather than bookishness. This book studies first what children’s metafiction purports to be and to do for the youth reader (infants to young adults). The second chapter examines the distinctive challenges in adapting children’s metafiction to film. The third chapter presents a number of children’s films, adaptations and not, featuring ‘bookish’ themes, characters, settings, and symbols, and develops a ‘film grammar’ for how these are traditionally depicted. The fourth chapter discusses children’s metafilm and draws from a selection of these films. The final, fifth, chapter presents a sub-type of children’s metafilm adaptations which ‘break the fifth wall’ by reflexively focusing not on a single medium (literature or film) but rather on the adaptation processes themselves. These adaptations are meta-adaptations. The book contains over fifty film stills and a glossary of terms. It discusses works like Inkheart, The Invention of Hugo Cabret, The Spiderwick Chronicles, and the Harry Potter series and the Series of Unfortunate Events. It is grounded in and contributes to contemporary adaptation criticism and theory.
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46

Friedlander, Jennifer. Documentary Real-ism. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190676124.003.0003.

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This chapter considers two recent films, Catfish (Ariel Schulman and Henry Joust) and This Is Not a Film (Jafar Panahi), with a view to arguing how the most prized indicators of filmic realism can function as signs of lapses in the realist edifice. It argues that such signs function as pointers to the elusive truth characteristic of what will be called “Real-ism” — that is, hints of the Real that emerge precisely when the symbolic framework governing reality becomes imperiled. In particular, these films exploit the realist conventions that lend credibility to the documentary form in a way that not only demonstrates the commonplace expectation that what is presented as truth might turn out to be a fiction but also shows the more radical possibility that fiction may pave the pathway for arriving at truth.
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47

Mitchell, Neil. Carrie. Liverpool University Press, 2014. http://dx.doi.org/10.3828/liverpool/9781906733728.001.0001.

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Brian De Palma's adaptation of Stephen King's debut novel, Carrie (1976), is one of the defining films of 1970s ‘New Hollywood’ style and a horror classic. The story of a teenage social outcast who discovers she possesses latent psychic powers that allow her to deliver retribution to her peers, teachers, and abusive mother, Carrie was an enormous commercial and critical success and is still one of the finest screen adaptations of a King novel. This book not only breaks the film down into its formal components — its themes, stylistic tropes, technical approaches, uses of colour and sound, dialogue, and visual symbolism — but also considers a multitude of other factors contributing to the work's classic status. The act of adapting King's novel for the big screen, the origins of the novel itself, the place of Carrie in De Palma's oeuvre, the subsequent versions and sequel, and the social, political, and cultural climate of the era (including the influence of second wave feminism, loosening sexual norms, and changing representations of adolescence), as well as the explosion of interest in and the evolution of the horror genre during the decade, are all shown to have played an important part in the film's success and enduring reputation.
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48

Shimabuku, Annmaria M. Alegal. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282661.001.0001.

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Alegal reveals modern Okinawa to be suspended in a perpetual state of exception: it is neither an official colony of Japan or the U.S., nor an equal part of the Japanese state. Today it is the site of one of the densest concentrations of U.S. military bases globally—a truly exceptional condition stemming from Japan’s abhorrence toward sexual contact around bases in its mainland that factored into securing Okinawa as a U.S. military fortress. This book merges Foucauldian biopolitics with Japanese Marxist theorizations of capitalism to trace the formation of a Japanese middle class that disciplined and secured the population from perceived threats, including the threat of miscegenation. Through close readings of poetry, reportage, film, and autobiography, it reveals how this threat came to symbolize the infringement of Japanese sovereignty figured in terms of a patriarchal monoethnic state. This symbolism, however, was met with great ambivalence in Okinawa. As a borderland of the Pacific, racial politics internal to the U.S. collided with colonial politics internal to the Asia Pacific in base towns centered on facilitating encounters between G.I.s and Okinawan women. By examining the history, debates, and cultural representations of these actors from 1945 to 2015, this book shows how they continually failed to “become Japanese.” Instead, they epitomized Okinawa’s volatility that danced on the razor’s edge between anarchistic insurgency and fascistic collaboration. What was at stake in their securitization was the attempt to contain Okinawa’s alegality itself—that is, a life force irreducible to the law.
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49

Unveiling Desire: Fallen Women in Literature, Culture, and Films of the East. Rutgers University Press, 2018.

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50

Unveiling Desire: Fallen Women in Literature, Culture, and Films of the East. Rutgers University Press, 2018.

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