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Books on the topic 'The multiplex cinema'

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Published: 4 June 2021
Last updated: 9 February 2022

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1

Klinger, Barbara. Beyond the multiplex: Cinema, new technologies, and the home. Berkeley: University of California Press, 2006.

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Beyond the multiplex: Cinema, new technologies, and the home. Berkeley, CA: University of California Press, 2007.

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Beyond the multiplex: Cinema, new technologies, and the home. Berkeley: University of California Press, 2006.

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4

Ellero, Roberto. Dove va il cinema: Critica e mercato nell'era dei multiplex. Roma: Bulzoni, 2000.

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5

Calzini, Mario. Cento anni di cinema al cinema: Storia dei cinematografi, dalla saletta dei Lumière ai multiplex. Roma: Gestioni editoriali Agis, 1995.

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6

Hanson, Stuart. The moment of multiplex: The changing place(s) of cinema in British society and culture 1945 to 1998. Birmingham: University of Birmingham, 1998.

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7

N. S. R. T. Vane. The multiplex cinema in London: can current planning policy support market demands and the objectives of sustainability for these modern leisure developments in the capital?. Oxford: Oxford Brookes University, 1997.

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8

Diane, Carson, Dittmar Linda 1938-, and Welsch Janice R, eds. Multiple voices in feminist film criticism. Minneapolis: University of Minnesota Press, 1994.

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9

Il cinema del multiple self: Lynch/Cronenberg : Mulholland drive/La promessa dell'assassino. Bologna: InEdition, 2009.

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10

McGuinness, Dean A. An assessment of three Dublin cinemas in terms of relative customer-perceived service quality: A comparative of multiplexes with a city-centre cinema. Dublin: University College Dublin, 1994.

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11

Anna, Antonini, Università di Udine. Dipartimento di storia e tutela dei beni culturali., and DAMS/Gorizia (Institute), eds. Il film e i suoi multipli: IX Convegno internazionale di studi sul cinema = Film and its multiples : IX International Film Studies Conference, University of Udine. [Udine]: Forum, 2003.

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12

How Brazilian films developed multiple national identities, 1930-2000: The cultural achievement of popular cinema. Lewiston: Edwin Mellen Press, 2011.

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13

McDonald, Sarah. How Brazilian films developed multiple national identities, 1930-2000: The cultural achievement of popular cinema. Lewiston: Edwin Mellen Press, 2011.

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14

Lo sguardo multiplo: Cinema e letteratura in Bellocchio, Benigni, Bergman, Bertolucci, Dardly e Pasolini. Milano: FrancoAngeli, 2007.

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15

Grundmann, Roy, Peter Schwartz, and Gregory Williams, eds. Labour in a Single Shot. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722421.

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This collection of essays offers a critical assessment of Labour in a Single Shot, a groundbreaking documentary video workshop. From 2011 to 2014, curator Antje Ehmann and film- and videomaker Harun Farocki produced an art project of truly global proportions. They travelled to fifteen cities around the world to conduct workshops inspired by cinema history’s first film, Workers Leaving the Lumière Factory, shot in 1895 by the Lumière brothers in France. While the workshop videos are in colour and the camera was not required to remain static, Ehmann and Farocki’s students were tasked with honouring the original Lumière film’s basic parameters of theme and style. The fascinating result is a collection of more than 550 short videos that have appeared in international exhibitions and on an open-access website, offering the widest possible audience the opportunity to ponder contemporary labour in multiple contexts around the world.
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16

Hennelly, Siobhán. The multiplex cinema in the UK. 1995.

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17

Cunningham, John. Hungarian Cinema: From Coffee House to Multiplex. Wallflower Press, 2004.

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18

Hungarian Cinema: From Coffee House to Multiplex. Wallflower Press, 2004.

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19

Hanson, Stuart. Screening the World: Global Development of the Multiplex Cinema. Palgrave Macmillan, 2019.

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20

Klinger, Barbara. Beyond the Multiplex: Cinema, New Technologies, and the Home. University of California Press, 2006.

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21

Generation Multiplex: The Image of Youth in Contemporary American Cinema. University of Texas Press, 2002.

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22

(Foreword), David Considine, ed. Generation Multiplex: The Image of Youth in Contemporary American Cinema. University of Texas Press, 2002.

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23

Generation Multiplex: The Image of Youth in American Cinema since 1980. University of Texas Press, 2014.

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24

Krämer, Lucia. Adaptation in Bollywood. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.14.

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Chapter 14 examines the role of adaptation as both genre and practice in contemporary Hindi mainstream cinema, with reference to Indian film history and adaptation in Hollywood. In Bollywood today, despite the relative scarcity of literary adaptations, the multiplex boom has led to new ways of marketing adaptations and to a greater number of best-seller adaptations in recent years. Intramedial adaptations of both local and foreign films, by contrast, are a fully established practice of risk management, whose policies of copyright and self-positioning in relation to foreign films, for example the switch from “Indianization” strategies toward attempts at global accessibility, have reflected Bollywood’s changing role within world cinema. Based on its investigation of adaptation in Bollywood, the essay proposes several corrective implications for adaptation studies that arise from testing analytical categories developed on the basis of Western adaptations against adaptation in a different cultural sphere.
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25

Martin, Daniel. Extreme Asia. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697458.001.0001.

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This book explains and analyses the unprecedented rise in visibility of ‘cult’ Asian cinema in the UK, especially between the years 2000 and 2005. Considering multiple factors behind the cultural, critical and economic success of Asia cinema in the West, this book focuses specifically on the hugely influential and pioneering (if deeply problematic) Tartan Films (formerly Metro-Tartan) Asia Extreme brand. This book is structured as a series of case studies, examining different films, filmmakers and distribution events in order to sketch an historical overview of this developing film cycle, paying attention primarily to the marketing and critical reception of these films. The Asia Extreme brand incorporated multiple genres – primarily horror, action, and erotic thrillers – and also elided the differences between various national cinemas. The role of Orientalism in both the marketing and reception of films from Hong Kong, Japan, and South Korea is also examined in detail.
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26

Eyles, Allen. Odeon Cinemas 2: From J. Arthur Rank to the Multiplex. British Film Institute, 2005.

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27

Richards, Rashna Wadia. Cinematic TV. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190071257.001.0001.

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In the last two decades, media scholars have often suggested that television has become cinematic. Once considered “a mere instrument of transmission,” as Rudolf Arnheim put it, or derided as a vast wasteland, TV is now praised for its visual density and complexity. Serial dramas, in particular, are acclaimed for their imitations of cinema’s stylistically innovative and narratively challenging conventions. But what exactly does “cinematic TV” mean? Cinematic TV takes up this question comprehensively, arguing that TV dramas quote, copy, and appropriate (primarily) American cinema in multiple ways and toward multiple ends. Putting together an innovative framework by combining intertextuality and memory studies, Cinematic TV focuses on four modalities of intermedial borrowings: homage, evocation, genre, and parody. Through close readings of such exemplary shows as Stranger Things, Mad Men, Damages, and Dear White People, the book demonstrates how serial dramas reproduce and rework, undermine and idolize, and, in some cases, compete with and outdo cinema. Ultimately, Cinematic TV argues that serial dramas function archivally in relation to cinema, for cinematic moments, motifs, and contours hover around the televisual frame, constantly breaking through. How serial dramas handle such cinematic hauntings is the story that this book tells.
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28

Lau, Jenny Kwok Wah. Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia. Temple University Press, 2003.

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29

Lau, Jenny Kwok Wah. Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia. Temple University Press, 2003.

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30

Lau, Jenny Kwok Wah, 1954-, ed. Multiple modernities: Cinemas and popular media in transcultural East Asia. Philadelphia, PA: Temple University Press, 2003.

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31

Hollweg, Brenda, and Igor Krstic, eds. World Cinema and the Essay Film. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474429245.001.0001.

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World Cinema and the Essay Film examines the ways in which essay film practices are deployed by transnational filmmakers in specific local and national contexts, in an interconnected world. The book identifies the essay film as a political and ethical tool to reflect upon and potentially resist the multiple, often contradictory effects of globalisation. With case studies of essayistic works by John Akomfrah, Frances Calvert, José Luis Guerín, Jonas Mekas, David Perlov, Apichatpong Weerasethakul and Zhao Liang, amongst many others, and with a photo-essay by Trinh T. Minh-ha, the book expands current research on the essay film and presents transnational perspectives on what is becoming a global film practice.
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32

Church, David. Post-Horror. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475884.001.0001.

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Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed “elevated horror” and “post-horror” in popular film criticism, texts such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from high-minded critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema. It argues that the affect produced by these films’ minimalist aesthetic has fueled taste-based disagreements between professional film critics, genre fans, and more casual viewers about whether the horror genre can or should be upheld as more than a populist entertainment form, especially as the genre turned away from the post-9/11 debates about graphic violence that consumed the first decade of the twenty-first century. The book thus explores the aesthetic qualities, historical precursors, affective resonances, and thematic concerns of this emerging cycle by situating these texts within revived debates between over the genre’s larger artistic, cultural, and entertainment value. Chapters include thematic analyses of trauma, gaslighting, landscape, existential dread, and political identity across a range of films straddling the line between art-horror and multiplex fare since approximately 2013.
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33

Villa, Sara. Improvisatory Practices and the Dawn of the New American Cinema. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.30.

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In 1960, cinema critic Jonas Mekas welcomed the advent of the New American Cinema, praising the wave of independent movies produced in late 1950s for their casual and fragmentary nature. The key feature of these productions, which was particularly remarkable in the case of two major features—Shadowsby John Cassavetes andPull My Daisyby Alfred Leslie and Robert Frank—was an anti-Hollywood style that relied on improvisatory practices affecting all structural levels: from the acting to the montage, from the photography to the soundtrack. The style of this “spontaneous cinema” was a pastiche of multiple improvisatory practices, borrowed from bebop, beat poetry, and Stanislavsky’s acting techniques, which defied traditional cinematographic narratives. A close analysis ofShadowsandPull My Daisyreveals the multiple forms of improvisation that shaped these movies’ “spontaneous poetics” and the ways in which they both managed to bring improvisation into film art.
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34

Murray, Jonathan, and Nea Ehrlich, eds. Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.001.0001.

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Documentary cinema has always drawn from real life. However, an increasing number of contemporary filmmakers go further still, drawing onscreen images of reality through a range of animated filmmaking techniques and aesthetics. This book is the first of its kind, exploring the field of animated documentary film from a diverse range of scholarly and practice-based perspectives. The book’s chapters explore and propose answers to a range of questions that preoccupy twenty-first-century film artists and audiences alike: What are the historical roots of animated documentary? What kinds of reasons inspire practitioners to employ animation within documentary contexts? How do animated documentary images reflect and influence our understanding and experience of multiple forms of reality – public and private, psychological and political? From early cinema to present-day scientific research, military uses, digital art and gaming, this book casts new light on the capacity of the moving image to act as a record of the world around us, challenging many orthodox definitions of both animated and documentary cinema.
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35

Potter, Susan. Queer Timing. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042461.001.0001.

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This book is a counter-history of the emergence of lesbian sexuality in early cinema. Drawing on the critical insights of queer theory and the history of sexuality, it challenges approaches to lesbian representation, initially by reframing the emergence of lesbian figures in cinema in the late 1920s and early 1930s as only the most visible and belated signs of an array of strategies of sexuality. The emergence of lesbian representation and spectatorship in early cinema is not a linear progression and consolidation but rather arises across multiple sites in dispersed forms that are modern and backward-looking, recursive and anachronistic. In this tumultuous period, new but not always coherent sexual knowledges and categories emerge, even as older modalities of homoeroticism persist. The book articulates some of the discursive and institutional processes by which women’s same-sex desires and identities have been reorganized as impossible, marginal or—perhaps not so surprisingly—central to new forms of cinematic representation and spectatorship. Complicating the critical consensus of feminist film theory and history, the book foregrounds the centrality of women’s same-sex desire to historically distinct cinematic discourses of both homo- and heterosexuality. It articulates across its chapters the emergence of lesbian sexuality—and that of its intimate “other,” heterosexuality—as the effect of diverse discursive operations of early cinema, considered as a complex assemblage of film texts, exhibition practices, modes of female spectatorship, and reception.
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36

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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37

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 Albino), and the films of Friðrik Þór Friðriksson. These are discussed in reference to the edited volume of essays on Icelandic landscape Conversations with Landscape (2010) and Kristin Shranmm’s concept of Borealism (2011) as it applies to Icelandic music and cinema.
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38

Armatage, Kay. Barbara Willis Sweete. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0019.

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This chapter investigates the complexity of Barbara Willis Sweete's creative orchestration of multiple personnel and technical operations in HD transmissions of live opera, with particular emphasis on how the input of composer, stage director, and performers are re-mediated through her technical expertise and cohering cinematic aesthetic. Sweete, one of the two principal directors of the Metropolitan Opera Live in high-definition (HD) live transmissions, has a varied media background. She brings to her HD transmissions a carefully calibrated practice that attends not only to music, staging, and performance but also to visual narrativity and what she calls visual architecture. This chapter explores how that practice engages with the intermedial nature of the live HD broadcast of opera. It argues that Sweete's visual practice places her at the center of this new cultural form—an intermedial hybrid—which can be viewed as currently in its “transitional” period, much as cinema “transitioned” in the 1910s.
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39

Prorokova-Konrad, Tatiana, ed. Cold War II. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831095.001.0001.

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Today, Hollywood cinema has made a striking turn regarding its portrayals of Russians, returning to the images of the Cold War. To explore the reasons for this sudden renewed interest in the Cold War, this book examines, among others, Guy Ritchie’s The Man from U.N.C.L.E. (2015), Steven Spielberg’s Bridge of Spies (2015), Ethan Coen and Joel Coen’s Hail, Caesar! (2016), David Leitch’s Atomic Blonde (2017), Guillermo del Toro’s The Shape of Water (2017), Ryan Coogler’s Black Panther (2018), and Francis Lawrence’s Red Sparrow (2018), as well as such TV shows as Comrade Detective (2017) and The Americans (2013-2018). Are these recent films and series attempting to interpret the tightened political relations between the United States and Russia, suggesting the beginning of “Cold War II”? The chapters in this collection investigate the revival of the Cold War movie genre under multiple angles, including questions of patriotism, national identity, otherness, gender, and corruption. They are sensitive to the cinematic aesthetics and ethics of these representations as they reveal how these new images of the Cold War shape audiences’ understanding of the Cold War in general as well as of the relationship between the U.S. and Russia in particular. This collection defies the traditional definitions of the Cold War film and invites readers to discover the new phase in the Cold War movie genre: Cold War II.
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40

Asseraf, Arthur. Electric News in Colonial Algeria. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198844044.001.0001.

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How do the things which connect us divide us at the same time? This book tells a different history of globalization by tracing how news circulated in a divided society: Algeria under French rule in the late nineteenth and early twentieth centuries. The years between 1881 and 1940 were those of maximum colonial power in North Africa, a period of intense technological revolution, global high imperialism, and the expansion of settler colonialism. Algerians became connected to international networks of news, and local people followed distant events with great interest. But once news reached Algeria, accounts of recent events often provoked conflict as they moved between different social groups. In a society split between its native majority and a substantial settler minority, distant wars led to riots. Circulation and polarization were two sides of the same coin. Looking at a range of sources in multiple languages across colonial society, this book offers a new understanding of what news is. News was a whole ecosystem in which new technologies such as the printing press, the telegraph, the cinema and the radio interacted with older media like songs, rumours, letters, and manuscripts. The French government watched anxiously over these developments, monitoring Algerians’ reactions to news through an extensive network of surveillance that often ended up spreading news rather than controlling its flow. By tracking what different people thought was new, this history of news helps us reconsider the relationship between time, media, and historical change.
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41

Palmer, Landon. Rock Star/Movie Star. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190888404.001.0001.

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When midcentury Hollywood found itself struggling to compete within an expanding entertainment media landscape, certain producers and studios saw an opportunity in making films that showcased performances by rock ’n’ roll stars. Such stars eventually found cinema to be a useful space to extend their creative practices, and the motion picture and recording industries increasingly saw cinematic rock stardom as a profitable means to connect multiple media properties. This book examines how casting rock stars for film provided a tool for bridging new relationships across media industries and practices. Rock Star/Movie Star offers a new perspective on the role of stardom within the convergence of media industries. While hardly the first popular music culture to see its stars making the transition to screen, the timing of rock’s emergence and its staying power within popular culture proved fortuitous for a motion picture business searching for its place in the face of continuous technological and cultural change. At the same time, a post-star-system film industry provided a welcoming context for rock stars who have valued authenticity, creative autonomy, and personal expression. Examining stars from Elvis Presley to Madonna, this book uses illuminating archival resources to demonstrate how rock stars have often proven themselves to be prominent film workers exploring this terrain of platforms old and new—ideal media laborers whose power lies in the fact that they are rarely recognized as such.
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42

Miller, Giulia. Studying Waltz with Bashir. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325154.001.0001.

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On its release in 2008, Ari Folman's animated documentary Waltz with Bashir was heralded as a brilliant and original exploration of trauma, and trauma's impact on memory and the recording of history. But it is surprising that although the film is seen through the eyes of one particular soldier, a viewpoint portrayed using highly experimental forms of animation, this has not prevented Waltz with Bashir from being regarded as both an “autobiographical” and “honest” account of the director's own experiences in the 1982 Lebanon War. In fact, the film won several documentary awards, and even those critics focusing on the representation of trauma suggest that this trauma must be authentic. In this sense, it is the documentary form rather than the animation that has had the most influence upon critics. As this book shows, it is the tension between the two forms that makes the film so complex and interesting, allowing for multiple themes and discourses to coexist, including Israel's role during the Lebanon War and the impact of trauma upon narrative, but also the representation of Holocaust memory and its role in the formation of Israeli identity. In addition to these themes that coexist by virtue of the film's unusual animated documentary format, Waltz with Bashir can also be discussed in relation to a broad range of contexts; for example, the representation of war in film, the history of Israeli Holocaust cinema, and recent trends in experimental animation, such as Richard Linklater's Waking Life (2001) and A Scanner Darkly (2006), as well as Folman's most recent live action/animation work The Congress (2013).
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