David A. Cook – författare

Sophisticated in its analytical content, current in its coverage and informed throughout by fascinating historical and cultural contexts, A History of Narrative Film is one of the most respected and widely read texts in film studies. This fifth edition features a new chapter on twenty-first century film and includes refreshed coverage of contemporary digital production, distribution and consumption of film. Now 20% shorter, with new four-colour design and an updated art programme, A History of Narrative Film is also the only film history text available as an ebook.

Hollywood has long been associated with scandal--with covering it up, with managing its effects, and, in some cases, with creating and directing it. In putting together Headline Hollywood, Adrienne McLean and David Cook approach the relationship between Hollywood and scandal from a fresh perspective. The contributors consider some of the famous transgressions that shocked Hollywood and its audiences during the last century, and explore the changing meaning of scandal over time by zeroing in on issues of power: Who decides what crimes and misdemeanors should be circulated for public consumption and titillation? What makes a Hollywood scandal scandalous? What are the uses of scandal? The essays are arranged chronologically to show how Hollywood scandals have evolved relative to changing moral and social orders. This collection will prove essential to the field of film studies as well as to anyone interested in the character and future direction of American culture. Contributors are Mark Lynn Anderson, Cynthia Baron, James Castonguay, Nancy Cook, Mary Desjardins, Lucy Fischer, Lee Grieveson, Erik Hedling, Peter Lehman, William Luhr, Adrienne L. McLean, Susan McLeland, and Sam Stoloff. Adrienne L. McLean is an assistant professor of film studies at the University of Texas at Dallas. David A. Cook is a professor of film and media studies at Emory University. He is the author of A History of Film Narrative.

A History of Three-Dimensional Cinema chronicles 3-D cinema as a single, continuous and coherent medium, proceeding from 19th-century experiments in stereoscopic photography and lantern projection (1839–1892) to stereoscopic cinema’s “long novelty period” (1893–1952). It proceeds to examine the first Hollywood boom in anaglyphic stereo (1953–1955), when the mainstream industry produced 69 features in 3-D, mostly action films that could exploit the depth illusion, but also a handful of big-budget films—for example, Kiss Me Kate (George Sidney, 1953) and Dial M for Murder (Alfred Hitchcock, 1954)—until audiences tired of the process; the anaglyphic revival of 1970–1985, when 3-D was sustained as a novelty feature in sensational genres like soft-core pornography and horror; the age of IMAX 3-D (1986–2008); the current era of digital 3-D cinema, which began in 2009 when James Cameron’s Avatar became the highest-grossing feature of all time and the studios once again stampeded into 3-D production; and finally the future promise of Virtual Reality.