Keith M. Johnston – författare

The audience's first exposure to a new movie is often in the form of a "coming attraction" trailer, and short previews are also a vanguard for emerging technology and visual techniques. This book demonstrates how the trailer has educated audiences in new film technologies such as synchronized sound, widescreen and 3-D, tracing the trailer's status as a trailblazer on to new media screens and outlets such as television, the Internet, and the iPod. The impact and use of new technologies and the evolution of trailers beyond the big screen is followed into the digital era.

Science Fiction Film develops a historical and cultural approach to the genre that moves beyond close readings of iconography and formal conventions. It explores how this increasingly influential genre has been constructed from disparate elements into a hybrid genre.Science Fiction Film goes beyond a textual exploration of these films to place them within a larger network of influences that includes studio politics and promotional discourses. The book also challenges the perceived limits of the genre - it includes a wide range of films, from canonical SF, such as Le voyage dans la lune, Star Wars and Blade Runner, to films that stretch and reshape the definition of the genre. This expansion of generic focus offers an innovative approach for students and fans of science fiction alike.

Ealing Revisited provides a major reappraisal of one of British cinema''s best-loved institutions, Ealing Studios. During its heyday, Ealing produced a string of classic comedies, including Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951) and The Ladykillers (1955), but there is much more to Ealing than these films, as this volume of new writing on the studio shows. Addressing both known and less familiar aspects of Ealing''s story, its films, actors and technicians, the contributors uncover what has gone unexplored, or unspoken, in previous histories of the studio, and consider the impact that Ealing has had on British cultural life from the 1930s to the present. Listed in the Independent on Sunday''s Cinema books of 2012http://www.independent.co.uk/arts-entertainment/books/reviews/ios-books-of-the-year-2012-cinema-8373713.html

Ealing Revisited provides a major reappraisal of one of British cinema''s best-loved institutions, Ealing Studios. During its heyday, Ealing produced a string of classic comedies, including Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951) and The Ladykillers (1955), but there is much more to Ealing than these films, as this volume of new writing on the studio shows. Addressing both known and less familiar aspects of Ealing''s story, its films, actors and technicians, the contributors uncover what has gone unexplored, or unspoken, in previous histories of the studio, and consider the impact that Ealing has had on British cultural life from the 1930s to the present. Listed in the Independent on Sunday''s Cinema books of 2012http://www.independent.co.uk/arts-entertainment/books/reviews/ios-books-of-the-year-2012-cinema-8373713.html

Science Fiction Film develops a historical and cultural approach to the genre that moves beyond close readings of iconography and formal conventions. It explores how this increasingly influential genre has been constructed from disparate elements into a hybrid genre.Science Fiction Film goes beyond a textual exploration of these films to place them within a larger network of influences that includes studio politics and promotional discourses. The book also challenges the perceived limits of the genre - it includes a wide range of films, from canonical SF, such as Le voyage dans la lune, Star Wars and Blade Runner, to films that stretch and reshape the definition of the genre. This expansion of generic focus offers an innovative approach for students and fans of science fiction alike.

Science Fiction Film develops a historical and cultural approach to the genre that moves beyond close readings of iconography and formal conventions. It explores how this increasingly influential genre has been constructed from disparate elements into a hybrid genre. Science Fiction Film goes beyond a textual exploration of these films to place them within a larger network of influences that includes studio politics and promotional discourses. The book also challenges the perceived limits of the genre - it includes a wide range of films, from canonical SF, such as Le voyage dans la lune, Star Wars and Blade Runner, to films that stretch and reshape the definition of the genre. This expansion of generic focus offers an innovative approach for students and fans of science fiction alike.

Science Fiction Film develops a historical and cultural approach to the genre that moves beyond close readings of iconography and formal conventions. It explores how this increasingly influential genre has been constructed from disparate elements into a hybrid genre.Science Fiction Film goes beyond a textual exploration of these films to place them within a larger network of influences that includes studio politics and promotional discourses. The book also challenges the perceived limits of the genre - it includes a wide range of films, from canonical SF, such as Le voyage dans la lune, Star Wars and Blade Runner, to films that stretch and reshape the definition of the genre. This expansion of generic focus offers an innovative approach for students and fans of science fiction alike.

The story of Eastmancolor's arrival on the British filmmaking scene is one of intermittent trial and error, intense debate and speculation before gradual acceptance. This book traces the journey of its adoption in British Film and considers its lasting significance as one of the most important technical innovations in film history. Through original archival research and interviews with key figures within the industry, the authors examine the role of Eastmancolor in relation to key areas of British cinema since the 1950s; including its economic and structural histories, different studio and industrial strategies, and the wider aesthetic changes that took place with the mass adoption of colour. Their analysis of British cinema through the lens of colour produces new interpretations of key British film genres including social realism, historical and costume drama, science fiction, horror, crime, documentary and even sex films. They explore how colour communicated meaning in films ranging from the Carry On series to Monty Python's Life of Brian (1979), from Lawrence of Arabia (1962) to A Passage to India (1984), and from Goldfinger (1964) to 1984 (1984), and in the work of key directors and cinematographers of both popular and art cinema including Nicolas Roeg, Ken Russell, Ridley Scott, Peter Greenaway and Chris Menges.

The story of Eastmancolor's arrival on the British filmmaking scene is one of intermittent trial and error, intense debate and speculation before gradual acceptance. This book traces the journey of its adoption in British Film and considers its lasting significance as one of the most important technical innovations in film history. Through original archival research and interviews with key figures within the industry, the authors examine the role of Eastmancolor in relation to key areas of British cinema since the 1950s; including its economic and structural histories, different studio and industrial strategies, and the wider aesthetic changes that took place with the mass adoption of colour. Their analysis of British cinema through the lens of colour produces new interpretations of key British film genres including social realism, historical and costume drama, science fiction, horror, crime, documentary and even sex films. They explore how colour communicated meaning in films ranging from the Carry On series to Monty Python's Life of Brian (1979), from Lawrence of Arabia (1962) to A Passage to India (1984), and from Goldfinger (1964) to 1984 (1984), and in the work of key directors and cinematographers of both popular and art cinema including Nicolas Roeg, Ken Russell, Ridley Scott, Peter Greenaway and Chris Menges.

The story of Eastmancolor''s arrival on the British filmmaking scene is one of intermittent trial and error, intense debate and speculation before gradual acceptance. This book traces the journey of its adoption in British Film and considers its lasting significance as one of the most important technical innovations in film history. Through original archival research and interviews with key figures within the industry, the authors examine the role of Eastmancolor in relation to key areas of British cinema since the 1950s; including its economic and structural histories, different studio and industrial strategies, and the wider aesthetic changes that took place with the mass adoption of colour. Their analysis of British cinema through the lens of colour produces new interpretations of key British film genres including social realism, historical and costume drama, science fiction, horror, crime, documentary and even sex films. They explore how colour communicated meaning in films ranging from the Carry On series to Monty Python''s Life of Brian (1979), from Lawrence of Arabia (1962) to A Passage to India (1984), and from Goldfinger (1964) to 1984 (1984), and in the work of key directors and cinematographers of both popular and art cinema including Nicolas Roeg, Ken Russell, Ridley Scott, Peter Greenaway and Chris Menges.