Geschichte & Kritik

Never watch The Exorcist, Marlena Williams's mother told her, just as she'd been told by her own mother as a Catholic teen in rural Oregon when the horror classic premiered. And like her mother, Mary, Williams watched it anyway. An inheritance passed from mother to daughter, The Exorcist looms large-in popular culture and in Williams's own life, years after Mary's illness and death. In Night Mother, Williams investigates the film not only as a projection of Americans' worst fears in the tumultuous 1970s and a source of enduring tropes around girlhood, faith, and transgression but also as a key to understanding her mother and the world she came from. The essays in Night Mother delve beneath the surface of The Exorcist to reveal the deeper stories the film tells about faith, family, illness, anger, guilt, desire, and death. Whether tracing the career of its young star, Linda Blair, unpacking its most infamous scenes, exploring its problematic depictions of gender and race, or reflecting on the horror of growing up female in America, Williams deftly blends bold personal narrative with shrewd cultural criticism. Night Mother offers fresh insights for both fans of the film and newcomers alike.

Brings together Ana M. López's field-defining essays on Latin American film and media in one indispensable volume.Ana M. López is one of the foremost film and media scholars in the world. Her work has addressed Latin American filmmaking in every historical period, across countries and genres-from early cinema to the present; from Brazil, Cuba, and Mexico to diasporic and Latinx cinemas in the United States; from documentary to melodrama to politically militant film. López's groundbreaking essays have transformed Latin American film studies, opening up new approaches, theoretical frameworks, and lines of investigation while also extending beyond cinema to analyze its connections with television, radio, and broader cultural phenomena. Bringing together twenty-five essays from throughout her career, including three that have been translated into English for this volume, Ana M. López is divided into three sections: the transnational turn in Latin American film studies; analysis of genre and modes; and debates surrounding race, ethnicity, and gender. Expertly curated and edited by Laura Podalsky and Dolores Tierney, the volume includes introductory material throughout to map and situate López's key interventions and to aid students and scholars less familiar with her work.

War Crimes and Misdemeanors on Joni Järvi-Laturin kirjoituskokoelma. Kirja sisältää kirjoituksia taiteesta, kulttuurista ja elämästä. Järvi-Laturi kirjoittaa muun muassa lempielokuvistaan ja lempimusiikistaan. Kirjoitukset ovat herkullisen viihdyttäviä ja oivaltavia. Eli jos tykkäät pop-kulttuurista, kirja on oiva valinta sinulle.

Examines the ways in which post-apocalyptic films express white racial anxiety.The use of Christian apocalyptic myths has changed significantly over the centuries. Initially used by genuinely disenfranchised groups, they are used today as a response to more egalitarian treatment of minorities in American society. The apocalyptic framework allows the patriarchy to frame itself as the victim who must restore America to a past where white male power went uncontested. This kind of white anxiety over increasing minority rights frequently manifests itself in contemporary apocalyptic media, which often depicts a white male hero facing a wide array of threatening "Others." Taking a unique look at the parallels between apocalypticism and American frontier mythology, as well as conspiracy theories and the post-apocalyptic obsession with repurposed objects, Whiteness at the End of the World analyzes many well-known films from the past fifty years, from Planet of the Apes to I Am Mother. It offers unique, clearly presented insights into recurring patterns that appear in an extraordinarily ubiquitous genre that has only increased in popularity, and whose themes of racial anxiety are increasingly pertinent in our increasingly contentious political climate.

Contributions by Apryl Alexander, Alisia Grace Chase, Brian Faucette, Laura E. Felschow, Lindsay Hallam, Rusty Hatchell, Dru Jeffries, Henry Jenkins, Jeffrey SJ Kirchoff, Curtis Marez, James Denis McGlynn, Brandy Monk-Payton, Chamara Moore, Drew Morton, Mark C. E. Peterson, Jayson Quearry, Zachary J. A. Rondinelli, Suzanne Scott, David Stanley, Sarah Pawlak Stanley, Tracy Vozar, and Chris Yogerst Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986--"the year that changed comics" for most scholars in comics studies--Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: "Watchmen" after "Watchmen" looks specifically at the three adaptations of Moore's and Gibbons's Watchmen--Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena.

Philosophical Perspective on Cinema addresses the relationship between human existence and sensual reality. Applying metaphysical/existential reflection to cinema, the author explores the philosophical clarity that cinema can offer reflective persons about the human experience.

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Im Laufe ihrer Geschichte haben die Cultural Studies viele begriffliche Interventionen erfahren, die die kritische Schärfe dieses Projekts weitergebracht haben. So begründet dieser Band ausgehend von der Sprachphilosophie John L. Austins und dem performative turn in den Kultur- und Medienwissenschaften sowie unter Einbeziehung der Arbeiten Michel Foucaults und Judith Butlers den Begriff der 'performativen Kritik' und erschließt ihn für Kultur- und Medienanalysen in der Tradition der Cultural Studies. Der praktische Nutzen dieses Konzepts wird anhand von ausgewählten Film- und Fernsehanalysen verdeutlicht - und so auch für eine kritische Medienpädagogik interessant.

The Australian Film Yearbook features the work of the flourishing Australian film industry, with over one hundred Australian feature, non-fiction, and short films released to cinemas, streaming platforms, and film festivals during 2021. Discover a thriving and vital film industry that is positively buzzing with filmmakers eager to tell Australian stories, with over forty interviews and contributions that highlight the range of skill-sets and wealth of talent on show during 2021. Sharing their voice and perspectives on what it means to be a filmmaker are Australian creatives. From independent films through to Hollywood-backed productions, you will find critical examinations of iconic and hidden Australian films, providing a historical touchstone for where Australian cinema was during the turbulent year filled with changes and challenges - 2021.InterviewsStephen Maxwell Johnson - Director of High GroundErin Roche - Costume Designer for High GroundStephen Curry - Actor in June AgainJJ Winlove - Director of June Again and Crossing PathsIan Watson - Director of UnsoundNick Fenton - Editor of NitramJames Ashton - Sound Designer for Nitram and Mortal KombatMark Leonard Winter - Actor in Disclosure and Measure for MeasureAngela Little - Composer for StreamlineOlivia Martin McGuire & Brooke Silcox - Director and Producer of Freedom SwimmerSharnya Yates - Director, Producer and Actor in ChoiceRachel Grierson-Johns - Editor of Strong Female LeadAllan Clarke - Director of The Bowraville MurdersYaara Bou Melhem - Director of Unseen SkiesCathy Henkel & Sam Lara - Directors of Laura's ChoiceFrances Elliott & Samantha Marlowe - Directors of Girl Like YouBarat Ali Batoor - Director of Batoor: A Refugee StoryEva Orner - Director of BurningLaura Sivis, Sandrine Charruyer & Sophie Lepowic - Creative Team behind Inferno Without BordersSally Ingleton - Director of Wild ThingsJaimen Hudson - Subject of Jaimen Hudson: From Sky to SeaSally Aitken - Director of Playing with SharksBruce Berseford - Director of An Improbable CollectionJonathan Alley - Director of Love in Bright LandscapesMatthew Walker - Director of I'm WanitaNicole Miller - Director of This is Port AdelaideChristopher Nelius - Director of Girls Can't SurfTina Fielding, Jacqueline Pelczar, and Cody Greenwood - Creative Team behind SparklesThomas Wilson-White - Writer and Director of The GreenhouseRafe Spall - Actor in Long Story ShortJon Bell - Writer and Director of The MoogaiAddison Heath & Jasmine Jakupi - Writer and Directors of My Cherry PieRobbie Studsor - Writer and Director of Shallow BreathKylie Bracknell (Kaarljilba Kaardn) - Filmmaker and Artist behind Fist of Fury Noongar DaaSimon McQuoid - Director of Mortal Kombat

A Companion to Martin Scorsese A Companion to Martin Scorsese"This valuable book brings the exceptional scale of Martin Scorsese's film work into clear view. His achievements are monumental, and the essays collected in this work provide wonderfully detailed and vivid analyses of his oeuvre. A comprehensive study of the most exciting filmmaker working today."<BR>Robert Burgoyne, University of St AndrewsA Companion to Martin Scorsese, Revised Edition is a comprehensive collection of original essays assessing the career of one of America's most prominent contemporary filmmakers. The first reference work of its kind, this book contains contributions from influential scholars in North America and Europe. The essays use a variety of analytic approaches to study numerous aspects of Scorsese's work, from his earliest films to his place within the history of American and world cinema. They consider his work in relation to auteur theory, the genres in which he has worked, his use of popular music, and his recent involvement with film preservation. Several of the essays offer fresh interpretations of some of Scorsese's most influential films, including Mean Streets, Taxi Driver, Raging Bull, GoodFellas, Gangs of New York, Hugo, and The Irishman. Others take a broader approach and discuss the representation of violence, ethnicity, religion, sexuality, gender, race, and other themes across his work. With insights that will interest film scholars as well as movie enthusiasts, this is an important contribution to the scholarship of contemporary American cinema.

This book "decodes" 1930s Hollywood movies and explains why they looked and behaved in the way they did. Organized through a series of related case studies, the book exposes Classical Hollywood movies to a detailed analysis of their historical, industrial and cultural contexts. In the process it utilizes industry data, aesthetic analysis and the insights of New Cinema History to explain why and how these movies assumed their familiar forms. The book represents the summation of Richard Maltby's four decades of scholarship in the field of Hollywood cinema. The essays presented here share an assumption that has increasingly informed the author's critical method over the years: that any historical understanding of the films of this period requires a deep contextualization in the social circumstances surrounding both their production and consumption. In this way, the book introduces an innovative, overarching research methodology that synthesizes branches of research that are typically employed in isolation, including production, distribution, reception, film aesthetics, and cultural and historical context. Of the book's nine chapters, three are presented here for the first time, and four have been substantially revised and extended from their original publication.