Cinema Of John Marshall

Author: Jay Ruby
Publisher: Routledge
ISBN: 1317762444
Size: 49.67 MB
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Cinema Of John Marshall. First published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.

Action Figures Of The 1980s

Author: John Marshall
Publisher: Schiffer Pub Limited
ISBN:
Size: 53.13 MB
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Action Figures Of The 1980s. From G.I. Joe to Star Wars John Marshall has provided a thorough, informative, and entertaining look at the action figures produced during the 1980s. In over 430 superb colour photographs, fans of the pocket-sized G.I. Joes, of movie and TV characters, of fantasy figures, He-Man, the Thunder Cats, super heroes, of those ever-popular quick change artists of the robot world -- the Transformers, and even pro-wrestling fanatics will find figures here to warm their souls! Price listings are provided for every figure shown and for every known figure produced within a particular product line. Price ranges are provided both for figures that are mint-in-the-box and for those which, while running loose, have retained all of their accessories and lost none of their finish.

Transcultural Cinema

Author: David MacDougall
Publisher: Princeton University Press
ISBN: 9780691012346
Size: 17.31 MB
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Transcultural Cinema. David MacDougall is a pivotal figure in the development of ethnographic cinema and visual anthropology. As a filmmaker, he has directed in Africa, Australia, India, and Europe. His prize-winning films (many made jointly with his wife, Judith MacDougall) include The Wedding Camels, Lorang's Way, To Live with Herds, A Wife among Wives, Takeover, Photo Wallahs, and Tempus de Baristas. As a theorist, he articulates central issues in the relation of film to anthropology, and is one of the few documentary filmmakers who writes extensively on these concerns. The essays collected here address, for instance, the difference between films and written texts and between the position of the filmmaker and that of the anthropological writer. In fact, these works provide an overview of the history of visual anthropology, as well as commentaries on specific subjects, such as point-of-view and subjectivity, reflexivity, the use of subtitles, and the role of the cinema subject. Refreshingly free of jargon, each piece belongs very much to the tradition of the essay in its personal engagement with exploring difficult issues. The author ultimately disputes the view that ethnographic filmmaking is merely a visual form of anthropology, maintaining instead that it is a radical anthropological practice, which challenges many of the basic assumptions of the discipline of anthropology itself. Although influential among filmmakers and critics, some of these essays were published in small journals and have been until now difficult to find. The three longest pieces, including the title essay, are new.

Avant Doc

Author: Scott MacDonald
Publisher: Oxford University Press
ISBN: 0199388733
Size: 75.56 MB
Format: PDF, ePub, Docs
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Avant Doc. MacDonald explores the cinematic territory between the traditional categories of "documentary" and "avant-garde" film, through candid, in-depth conversations with filmmakers whose work has challenged these categories. Arranged in an imaginative chronology and written to be accessible to any film-interested reader, the interviews in Avant-Doc chart half a century of thinking by inventive filmmakers such as Robert Gardner, Ed Pincus, Alfred Guzzetti, Ross McElwee, Leonard Retel Helmrich, Michael Glawogger, Susana de Sousa Dias, Jonathan Caouette, Pawel Wojtasik, and Todd Haynes. Recent breakthroughs by Amie Siegel, Jane Gillooly, Jennifer Proctor, Betzy Bromberg, and Godfrey Reggio are discussed; and considerable attention is paid to Harvard's innovative Sensory Ethnography Lab, producer of Sweetgrass, Leviathan, and Manakamana. A rare interview with pioneering scholar Annette Michelson begins Avant-Doc's meta-conversation.

Lady In The Dark

Author: Robert Sitton
Publisher: Columbia University Press
ISBN: 023153714X
Size: 75.90 MB
Format: PDF
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Lady In The Dark. Iris Barry (1895–1969) was one of the first critics to recognize film as an art form. The mother of film preservation internationally, she founded the film department at New York City's Museum of Modern Art and became its first curator, cementing film’s critical legitimacy. Drawing on letters, memorabilia, and other documentary sources, Robert Sitton reconstructs Barry's remarkable life and work, sharing the story of a thoroughly modern muse and mentor to some of the most influential artists of her day. Although she had the bearing of a British aristocrat, Barry was the self-educated daughter of a brass founder and a palm-reader from the Isle of Man. An aspiring poet, her early work attracted the attention of Ezra Pound, whose letters to Barry comprise the essence of his thoughts on writing. Moving to London at Pound's suggestion in 1917, Barry joined a demimonde of Bloomsbury figures, including Ford Maddox Ford, T. S. Eliot, Arthur Waley, Edith Sitwell, and William Butler Yeats, and fell in love with Pound’s eccentric fellow Vorticist, Wyndham Lewis. During these tumultuous years, Barry launched a career as a novelist, biographer, and critic of motion pictures, which were dismissed as lower-class amusements. She wrote articles for the Spectator positioning film as a new art form and in 1925 cofounded the London Film Society. Emigrating to America in 1930, Barry joined the modernist Askew Salon, where she met Alfred Barr Jr., the director of the new Museum of Modern Art. Barr helped Barry establish a film library and convince powerful Hollywood interests to submit their work for exhibition, creating a significant new respect for film and prompting the founding of the International Federation of Film Archives, for which Barry served as Life President. Barry continued to augment MoMA’s film library until World War II, when she joined the Office of Strategic Services to develop pro-American films with Orson Welles, Walt Disney, John Houston, Samuel Goldwyn, and Frank Capra. Yet despite these patriotic efforts, Barry’s “foreignness” and association with such filmmakers as Luis Buñuel made her the target of an anticommunist witch hunt. She eventually left for France, working for MoMA only as consultant. Barry died in obscurity, her contribution to film and cultural history largely forgotten. Sitton reclaims her phenomenal achievements while recasting the political involvement of artistic institutions in the early twentieth century.

The Adventure Of The Real

Author: Paul Henley
Publisher:
ISBN:
Size: 44.56 MB
Format: PDF
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The Adventure Of The Real. Here, Henley examines the technical strategies, aesthetic considerations, and ethical positions that contribute to Rouch's cinematographic legacy. Featuring over 150 images, this book is an essential introduction to Rouch's work.

Britain Can Take It

Author: Anthony Aldgate
Publisher: I.B.Tauris
ISBN: 9781845114459
Size: 25.41 MB
Format: PDF, ePub, Mobi
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Britain Can Take It. At the outbreak of the Second World War all cinemas in Britain were closed. Ten days later they were opened again as a valuable way of boosting morale. This text charts this momentous period through the eyes of 13 key films. Scripts, box-office returns, official Home Office documents and censorship archives are included.

Omnibus Films Theorizing Transauthorial Cinema

Author: David Scott Diffrient
Publisher: Edinburgh University Press
ISBN: 0748695680
Size: 12.79 MB
Format: PDF, Kindle
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Omnibus Films Theorizing Transauthorial Cinema. Omnibus films bring together the contributions of two or more filmmakers. Does this make them inherently contradictory texts? How do they challenge critical categories in cinema studies? What are their implications for auteur theory? As the first book-length exploration of internationally distributed, multi-director episode films, David Scott Diffrient's Omnibus Films: Theorizing Transauthorial Cinema fills a considerable gap in the history of world cinema and aims to expand contemporary understandings of authorship, genre, narrative, and transnational production and reception. Delving into such unique yet representative case studies as If I Had a Million (1932), Forever and a Day (1943), Dead of Night (1945), Quartet (1948), Love and the City (1953), Boccaccio '70, (1962), New York Stories (1989), Tickets (2005), Visions of Europe (2005), and Paris, je t'aime (2006), this book covers much conceptual ground and crosses narrative as well as national borders in much the same way that omnibus films do. Omnibus Films is a particularly thought-provoking book for those working in the fields of auteur theory, film genre and transnational cinema, and is suitable for advanced students in Cinema Studies.