Studying Films - Böcker

By the power of Greyskull! In their second big-screen collaboration after Shaun of the Dead (2004), with Hot Fuzz (2007) director and co-writer Edgar Wright and co-writer and star Simon Pegg took aim at the conventions of the Hollywood action movie, transplanting gratuitous slo-mo action sequences into the English village supermarket and local pub. In this first critical study of arguably the most influential British film-makers to emerge this century, Neil Archer considers to what extent a modestly funded film such as this can be considered 'British' at all, given its international success and distribution by an American studio, and how far that success depends upon what he calls its 'cultural specificity'. He considers the film as a parody of the action movie genre, and discusses exactly how parody works - not just in relation to the conventions of the action film but also in the depiction of English space. Exactly what and who is Hot Fuzz poking fun at?

Unquestionably the first cinematic phenomenon of the twenty-first century, Peter Jackson's trilogy was a project of enormous artistic vision and financial risk. It is also a rich text for those studying film and media, perhaps for the first time. Studying The Lord of the Rings is the first book to consider the films in these terms, looking in turn at each of the major concepts: their complex origins and narrative structure; issues of representation masculinity, femininity and race; their generic patterns (to which genre do the films belong?) and thematic concerns; their industrial context from theatrical release to DVD extended editions; film language fusing classical mise-en-scène with cutting-edge technological practice. The aim throughout is to highlight critical debates and key terms, to relate these to the texts and to explore their stylistic and cultural impact. This Student Edition (a previously published Instructor's Edition is available) brings the story up to date with reflections on The Hobbit films.

Aimed at newcomers to literature and film, this book is a guide for the analysis of Shakespeare on film. Starting with an introduction to the main challenge faced by any director—the early-modern language—there follows exemplars for examining how that challenge is met using as case studies twelve films most often used in classroom teaching, including Romeo and Juliet, Macbeth, and The Tempest.The first chapter explores how a director can tell the story in a setting that embraces the expectations of realism in cinema, but still pays homage to the theatrical origins of the work. The second chapter discusses films in which the setting provides a visual analogy with the preoccupations of the story, but not at the expense of Shakespeare's language. The third chapter extends this to show how some films use recent history as a setting, adding a further layer of meaning to the story from the cultural resonances associated with that historical past. These films also rely on an assumption that Shakespeare is so well-known as to form a distinctive, easily recognized brand in the cinema marketplace. Thus, his work can be reimagined in completely different genres such as those films that are the subject of the final chapter.

Gladiator was one of the great commercial successes of the early twenty-first century, a fascinating example of how an old genre can be resuscitated for a new generation. The film's story is not complex yet the ways in which it is told says much about mainstream narrative techniques. And beneath its action-packed scenes and richly detailed sets, Gladiator carries specific values and messages which deserve close scrutiny. In Studying Gladiator, Sandy Irvine considers:Film language – how Gladiator overcomes incredulity with compelling use of sound, costume and mise-en-scène; The industrial context – Gladiator as a product of a partnership between an infant studio (DreamWorks) and a transnational corporation (Universal); Genre and Narrative – what do we mean by an 'epic', and can we describe Gladiator as such? Audience – how did the makers of Gladiator 'win the crowd' and appeal to today's block-buster audience? Film-makers – what did Ridley Scott personally bring to Gladiator, and can he be considered an auteur? Representation and Ideology – can we relate historical representations to contemporary society?

A leading example of a resurgent Latin American cinema – 'la buena onda' – in the early twenty-first century, City of God was a huge international popular and critical success. A combination of intoxicating, Hollywood-style genre film-making and hard-hitting, social-realist subject matter it was hailed as a masterpiece at Cannes in 2002 and seen by over 3 million people in Brazil, including the Brazilian cabinet. In Studying City of God, Stephanie Muir considers: The historical and industrial context of City of God – a brief history of Latin American cinema is followed by a more detailed account of film-making in Brazil – from light-hearted travelogues to Cinema Novo and after – all in the context of increasing globalisation; Narrative and Genre – how the film uses the components of narrative in a complex way, ex-perimentally manipulating time while using traditional genre conventions that are highly recognisable to mainstream audiences; Film language – the formal elements of the film are dissected through a detailed illustrated analysis of the kinetic, scene setting opening sequence; Audience responses – from establishment critical reaction to fan-based Internet sites and student feedback; Representation and Ideology – just how 'authentic' can a film such as City of God hope to be? Does its style overwhelm its subject matter?

The story of The Usual Suspects has the kind of "rags to riches" back story that makes not only the film itself, but the tale of its creation a tale worth telling. Inspired by a magazine headline, it was a poster before it was a screenplay, yet it stands in opposition to the High Concept Hollywood movie. Studying The Usual Suspects is an analysis of a film that is both a ripping yarn and an exercise in virtuoso technique. Author Judith Gunn offers: a thorough introduction to semiotics as a way of approaching the multiple meanings of the film; a consideration of the film's noir antecedents and influences; a discussion of the film's playful approach to narrative; an overview of John Ottman's unique role as both composer and editor and how this affects the finished article, including a shot-by-shot analysis of the dramatic and mysterious opening sequence; and a definitive account of the film's genesis from idea to film festival acclaim.

Wong Kar-wai's 1994 Chungking Express has quickly been recognised as one of the most important examples of 'World Cinema' in the last two decades. It explores time and desire and, on an allegorical level, the perceived loss of independence that many felt would take place post-1997. Studying Chungking Express considers these historical details but also the key issues of film form, author-ship, representation and identity. Required reading for all those studying contemporary World Cinema or Asian Studies, Studying Chungking Express considers these historical details but also the key issues of film form, author-ship, representation, and identity. In particular: Its central place within the Hong Kong New Wave film movement; its radical film form - notably the cut-and mix play with editing techniques; the signature of Wong Kar-wai as an auteur; the film's representation of the postmodern city; the film's relationship to both Hollywood cinema and European art film.

The disaster film taps into our fear of events beyond our control, ones that are often rooted in real-life experience, making the genre a particularly potent mixture of entertainment and grounded events. Studying Disaster Films provides a comprehensive introduction to a sub-genre that has flourished since the 1970s, fully accounting for the genre's origins and focusing on key films, including Airport, The Towering Inferno, The Day After Tomorrow, and, most recently, Cloverfield. Each case study presents a complete examination of the film, covering production, distribution, and marketing, and tackles such major critical areas as close textual analysis of scenes, issues of representation ,and critical reaction. Within this context, The Day After Tomorrow and Cloverfield are examined as products of current moral panics. There is also a consideration of "reality" disaster films, such as United 93. Written in a lively manner, this volume synthesizes central film and media concepts, affording the reader a thorough overview of the sub-genre.

The Devil's Backbone (2001) is a Gothic film written and directed by Guillermo del Toro (Pan's Labyrinth, 2006). The story centers on a ghost that haunts an isolated orphanage during the Spanish Civil War. Studying The Devil's Backbone explores the narrative of the film in relation to central concerns, such as genre, theme, iconography, representation, and film language. Through these elements, the volume reads the film's unique blend of literary Gothic, western, and war film and the use of bombs, ghosts, and color as visual signifiers. It critiques the central characters and compares their representation of women, monsters, and political context against an examination of mise-en-scene, sound, and special effects. In addition, the author provides a critical biography of del Toro, an analysis of his auteurist traits, and an in-depth bibliography and filmography.

Located in the West London suburb from which it takes its name, Ealing Studios is one of the best loved and best known institutions of British cinema. Ealing represents a particular kind of institutional practice—a community of filmmakers who collaborate in a defined location and produce a particular kind of film. Popular and acclaimed examples include Dead of Night (1945), Whiskey Galore! (1949), Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951), and The Ladykillers (1955). Viewed within the context of a nation forced to adjust to World War II and its subsequent social upheavals, Ealing films reflect common characteristics that can be identified as "national," conjuring images of Britain and Britishness for domestic and international audiences. In many ways, the values of Ealing in the 1940s and early 1950s are the values of Britain. Encouraging a view of the institution from its own perspective (which John Ellis casts as "liberal rather than radical, progressive rather than revolutionary "), this volume traces how Ealing constructed an image of Britain at a particular moment in history.

When Hammer Productions was formed in the 1920s, no one foresaw the impact this small, independent studio would have on the international film market. Christopher Lee's mesmerizing, animalistic, yet gentlemanly performance as Dracula, Frankenstein's Monster, and the Mummy were celebrated worldwide, and the Byronic qualities of Peter Cushing's Dr. Frankenstein, among his many other Hammer characters, proved impossible to forget. Hammer maintained consistent period settings, creating a timeless and enchanting aesthetic.Studying Hammer Horror treats Hammer as a quintessentially British product and through a study of its work investigates larger conceptions of national horror cinemas. The book examines genre, auteur theory, stardom, and representation within case studies of Curse of Frankenstein (1957), Twins of Evil (1971), and Hammer's latest film, Beyond the Rave (2008). Walden weighs Hammer's impact on the British film industry, past and present. Intended for students, fans, and general readers, this book transcends superficial preconceptions of Hammer horror in order to reach the essence of Hammer.

Talk to Her (2002) is a hugely rich and interesting though ambiguous film that met with both popular success and critical acclaim. The film won an Oscar for best original screenplay and has been hailed by some critics as Pedro Almodóvar's masterpiece. Yet like most of Almodóvar's films, little is clear cut. The characters are complex and our affinity and empathy for them shifts throughout the film. In Studying Talk to Her, Emily Hughes provides an in-depth analysis of both the formal elements of the film (its narrative, genre, and auteur study) and the themes and issues it raises, discussing the social context of modern Spain and its old, traditional iconography; shifting attitudes towards gender; and, crucially, the film's uneasy, morally ambiguous depiction of rape and the spectator's reaction to it.

Fight Club is, on one level, pop-culture phenomena and on another, a deeply philosophical and satirical exploration of modern life. David Fincher's 1999 film (and Chuck Palahniuk's source novel) has had a huge impact on audiences worldwide leading to spoofs, homage, merchandising and numerous Internet fan sites. On initial release the film was met with wide hostility from critics who either failed to appreciate its satirical intent or believed the film failed to deliver on its satirical promise. Early in its DVD afterlife, however, a wider audience began to appreciate the film's significance and radical message. Although attracted by the film's playfulness and star wattage, however, many students struggle with its theoretical notions such as Capitalism, materialism, anarchy and so on. This is one film, which therefore merits a thoughtful and provocative analysis but also an accessible one, and Mark Ramey has provided just that.

At the time of its release in 2007, The Bourne Ultimatum was described by one writer as the blockbuster it was 'okay to like'. What is it about this third entry in a Hollywood action franchise that satisfied both the cognoscenti and mass audiences? In Studying The Bourne Ultimatum, Neil Archer considers the film's status as "a serious blockbuster'"; compares rise of Jason Bourne in relation to the decline of another J.B. – James Bond; analyzes how the dynamics of the action thriller are used to depict the covert operations of US intelligence forces across the world; looks closely at the action sequences, focusing on their style and technological innovation; and considers the film's questioning of responsibility and culpability, asking whether – against the backdrop of the "War on Terror"– it plays as a critique of American foreign policy, but also as a redemption for its soldiers.

Unquestionably the first cinematic phenomenon of the twenty-first century, Peter Jackson's trilogy was a project of enormous artistic vision and financial risk. It is also a rich text for those studying film and media, perhaps for the first time. Studying The Lord of the Rings is the first book to consider the films in these terms, looking in turn at each of the major concepts: their complex origins and narrative structure; issues of representation masculinity, femininity and race; their generic patterns (to which genre do the films belong?) and thematic concerns; their industrial context from theatrical release to DVD extended editions; film language fusing classical mise-en-scène with cutting-edge technological practice. The aim throughout is to highlight critical debates and key terms, to relate these to the texts and to explore their stylistic and cultural impact. This Student Edition (a previously published Instructor's Edition is available) brings the story up to date with reflections on The Hobbit films.

Aimed at newcomers to literature and film, this book is a guide for the analysis of Shakespeare on film. Starting with an introduction to the main challenge faced by any director-the early-modern language-there follows exemplars for examining how that challenge is met using as case studies twelve films most often used in classroom teaching, including Romeo and Juliet, Macbeth, and The Tempest. The first chapter explores how a director can tell the story in a setting that embraces the expectations of realism in cinema, but still pays homage to the theatrical origins of the work. The second chapter discusses films in which the setting provides a visual analogy with the preoccupations of the story, but not at the expense of Shakespeare's language. The third chapter extends this to show how some films use recent history as a setting, adding a further layer of meaning to the story from the cultural resonances associated with that historical past. These films also rely on an assumption that Shakespeare is so well-known as to form a distinctive, easily-recognized brand in the cinema marketplace.Thus, his work can be reimagined in completely different genres such as those films that are the subject of the final chapter.

Paweł Pawlikowski’s 2013 film Ida was exceptionally warmly received in the United States, culminating in the Academy Award for Film Not in the English Language, but it was not without controversy. Sheila Skaff’s introduction to the film explains the historical setting, including the violence that took place in the Polish countryside during World War II and was not exposed for sixty years, and provides political and cultural analysis to aid the reader in understanding the film’s setting and narrative. Skaff also touches on the influence of the film on current events in Poland, where censorship of it by an increasingly nationalist government has polarized the country. It also situates Ida within the contexts of Polish and world film history. Scene-by-scene analysis is accompanied in each chapter by background information that gives context to the aesthetic and narrative choices made by the director.