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Film & Media

FILM and PHILOSOPHY: TAKING MOVIES SERIOUSLY

FILM and PHILOSOPHY: TAKING MOVIES SERIOUSLY

By: Shaw, Daniel
$23.00
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This introductory volume presents an overview of the philosophy of film, a burgeoning sub-discipline of Aesthetics. It offers a sampling of paradigmatic instances of philosophers and philosophical film theorists discussing the movies in a fashion that takes cinema as seriously as any other Fine Art, leaving little doubt that doing philosophy of film is a serious intellectual enterprise.
HISTORY OF ITALIAN CINEMA 2ND EDITION

HISTORY OF ITALIAN CINEMA 2ND EDITION

By: Pacchioni, Federico
$39.95
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A History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema - which has been published in four landmark editions and will celebrate its 35th anniversary in 2018. Building upon decades of research, Peter Bondanella and Federico Pacchioni reorganize the current History in order to keep the book fresh and responsive not only to the actual films being created in Italy in the twenty-first century but also to the rapidly changing priorities of Italian film studies and film scholars.

The new edition brings the definitive history of the subject, from the birth of cinema to the present day, up to date with a revised filmography as well as more focused attention on the melodrama, the crime film, and the historical drama. The book is expanded to include a new generation of directors as well as to highlight themes such as gender issues, immigration, and media politics. Accessible, comprehensive, and heavily illustrated throughout, this is an essential purchase for any fan of Italian film.

HORROR FILM AND OTHERNESS

HORROR FILM AND OTHERNESS

By: Lowenstein, Adam
$35.00
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What do horror films reveal about social difference in the everyday world? Criticism of the genre often relies on a dichotomy between monstrosity and normality, in which unearthly creatures and deranged killers are metaphors for society's fear of the "others" that threaten the "normal." The monstrous other might represent women, Jews, or Blacks, as well as Indigenous, queer, poor, elderly, or disabled people. The horror film's depiction of such minorities can be sympathetic to their exclusion or complicit in their oppression, but ultimately, these images are understood to stand in for the others that the majority dreads and marginalizes.


Adam Lowenstein offers a new account of horror and why it matters for understanding social otherness. He argues that horror films reveal how the category of the other is not fixed. Instead, the genre captures ongoing metamorphoses across "normal" self and "monstrous" other. This "transformative otherness" confronts viewers with the other's experience-and challenges us to recognize that we are all vulnerable to becoming or being seen as the other. Instead of settling into comforting certainties regarding monstrosity and normality, horror exposes the ongoing struggle to acknowledge self and other as fundamentally intertwined.


Horror Film and Otherness features new interpretations of landmark films by directors including Tobe Hooper, George A. Romero, John Carpenter, David Cronenberg, Stephanie Rothman, Jennifer Kent, Marina de Van, and Jordan Peele. Through close analysis of their engagement with different forms of otherness, this book provides new perspectives on horror's significance for culture, politics, and art.

MAGIC LANTERN

MAGIC LANTERN

By: Bergman, Ingmar
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"When a film is not a document, it is a dream. . . . At the editing table, when I run the strip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood." Bergman, who has conveyed this heady sense of wonder and vision to moviegoers for decades, traces his lifelong love affair with film in his breathtakingly visual autobiography, The Magic Lantern.

More grand mosaic than linear account, Bergman's vignettes trace his life from a rural Swedish childhood through his work in theater to Hollywood's golden age, and a tumultuous romantic history that includes five wives and more than a few mistresses. Throughout, Bergman recounts his life in a series of deeply personal flashbacks that document some of the most important moments in twentieth-century filmmaking as well as the private obsessions of the man behind them. Ambitious in scope yet sensitively wrought, The Magic Lantern is a window to the mind of one of our era's great geniuses.

"[Bergman] has found a way to show the soul's landscape . . . . Many gripping revelations."--New York Times Book Review

"Joan Tate's translation of this book has delicacy and true pitch . . . The Magic Lantern is as personal and penetrating as a Bergman film, wry, shadowy, austere."--New Republic

"[Bergman] keeps returning to his past, reassessing it, distilling its meaning, offering it to his audiences in dazzling new shapes."--New York Times

"What Bergman does relate, particularly his tangled relationships with his parents, is not only illuminating but quite moving. No 'tell-all' book this one, but revealing in ways that much longer and allegedly 'franker' books are not."--Library Journal

MY LIFE AND MY FILMS

MY LIFE AND MY FILMS

By: Renoir, Jean
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Here is the autobiography of the little boy with golden curls in the paintings of his father, Pierre Auguste Renoir-the boy who became the director many consider the greatest in history. François Truffaut called him "an infallible filmmaker . . . Renoir has succeeded in creating the most alive films in the history of cinema, films which still breathe forty years after they were made."

In this book, Jean Renoir (1894-1979) presents his world, from his father's Montemarte studio to his own travels in Paris, Hollywood, and India. Here are tantalizing secrets about his greatest films-The Rules of the Game, The Grand Illusion, The River, A Day in the Country, La Bête Humaine, Toni. But most of all, Renoir shows us himself: a man if dazzling simplicity, immense creativity, and profound humanity.

REVOLUTION WASN'T TELEVISED

REVOLUTION WASN'T TELEVISED

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Caricatures of sixties television--called a "vast wasteland" by the FCC president in the early sixties--continue to dominate our perceptions of the era and cloud popular understanding of the relationship between pop culture and larger social forces. Opposed to these conceptions, The Revolution Wasn't Televised explores the ways in which prime-time television was centrally involved in the social conflicts of the 1960s. It was then that television became a ubiquitous element in American homes. The contributors in this volume argue that due to TV's constant presence in everyday life, it became the object of intense debates over childraising, education, racism, gender, technology, politics, violence, and Vietnam. These essays explore the minutia of TV in relation to the macro-structure of sixties politics and society, attempting to understand the struggles that took place over representation the nation's most popular communications media during the 1960s.
SEXUALITY ON THE FIELD OF VISION

SEXUALITY ON THE FIELD OF VISION

By: Rose, Jacqueline
$17.95
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A pivotal work in the history of feminism and a groundbreaking intervention into film theory, Sexuality in the Field of Vision is a brilliantly original exploration of the interface between feminism, psychoanalysis, semiotics and film theory
SUNDAY'S CHILDREN: A NOVEL

SUNDAY'S CHILDREN: A NOVEL

By: Bergman, Ingmar
$14.95
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Pu Bergman is eight years old when Mother rents Pastor Dahlberg's ramshackle house for the summer. Pu is a Sunday's child--one said to be endowed with special gifts of sensitivity, clairvoyance, and the ability to see ghosts.
As the novel opens, Pu's heart is full of anticipation as he goes to the train station to greet his father. When Father arrives, he is strangely distant, melancholy, and severe. Over the next twenty-four hours, Pu's world is marked indelibly. In beautifully realized set pieces that reveal the Bergman family landscape and culminate in a train trip Pu and his father take together, Pu encounters death and the infirmities of aging, is humiliated by his terrorizing older brother, dwells on ghost stories the servants tell, and witnesses the painful arguments between his parents.

A series of "flashbacks to the future" enriches our understanding of the relationship between man and boy, as a much older Ingmar Bergman visits his ill and dying father, bringing the novel full circle. In his review of the film made from Sunday's Children, Vincent Canby called the story "gorgeous, richly poignant . . . Not since Wild Strawberries has Mr. Bergman dealt with time in a way that is simultaneously quite so limpid and so mysterious."

WHAT IS JAPANESE CINEMA?: A HISTORY

WHAT IS JAPANESE CINEMA?: A HISTORY

By: Inuhiko, Yomota
$26.00
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What might Godzilla and Kurosawa have in common? What, if anything, links Ozu's sparse portraits of domestic life and the colorful worlds of anime? In What Is Japanese Cinema? Yomota Inuhiko provides a concise and lively history of Japanese film that shows how cinema tells the story of Japan's modern age.

Discussing popular works alongside auteurist masterpieces, Yomota considers films in light of both Japanese cultural particularities and cinema as a worldwide art form. He covers the history of Japanese film from the silent era to the rise of J-Horror in its historical, technological, and global contexts. Yomota shows how Japanese film has been shaped by traditonal art forms such as kabuki theater as well as foreign influences spanning Hollywood and Italian neorealism. Along the way, he considers the first golden age of Japanese film; colonial filmmaking in Korea, Manchuria, and Taiwan; the impact of World War II and the U.S. occupation; the Japanese film industry's rise to international prominence during the 1950s and 1960s; and the challenges and technological shifts of recent decades. Alongside a larger thematic discussion of what defines and characterizes Japanese film, Yomota provides insightful readings of canonical directors including Kurosawa, Ozu, Suzuki, and Miyazaki as well as genre movies, documentaries, indie film, and pornography. An incisive and opinionated history, What Is Japanese Cinema? is essential reading for admirers and students of Japan's contributions to the world of film.