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Books in JSTOR. . Copyright Date. . Century Hollywood: Movies in the Era of Transformation. D Revolution: The History of Modern Stereoscopic Cinema. Abbas Kiarostami and Film- Philosophy.
JSTOR is a digital library of academic journals, books, and primary sources.
Abstinence Cinema: Virginity and the Rhetoric of Sexual Purity in Contemporary Film. Acting for America: Movie Stars of the 1. Acting in the Cinema. Action!: Interviews with Directors from Classical Hollywood to Contemporary Iran. Adapting Philosophy: Jean Baudrillard and ? Francis Jenkins, Pioneer of Film and Television. Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson.
For the studios, a good new idea has become just too scary a road to travel. Inception, they will tell you, is an exceptional movie. And movies that need to be. The 2017 Berlin Film Festival announced the first portion of the movies playing in Competition, and the lineup is already full of potential. Film noir is not a clearly defined genre (see here for details on the characteristics). Therefore, the composition of this list may be controversial.
Canadian Film and Video: A Bibliography and Guide to the Literature. Candid Eyes: Essays on Canadian Documentaries. Canyon Cinema: The Life and Times of an Independent Film Distributor. Captivating Westerns: The Middle East in the American West. Career Movies. 2. Carnal Thoughts: Embodiment and Moving Image Culture. Cartographic Cinema.
Causes Won, Lost, and Forgotten: How Hollywood and Popular Art Shape What We Know about the Civil War. Cecil B. De. Mille's Hollywood. Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas.
Celluloid Pueblo: Western Ways Films and the Invention of the Postwar Southwest. Celluloid Symphonies: Texts and Contexts in Film Music History. Celluloid Vampires. Challenge for Change: Activist Documentary at the National Film Board of Canada.
Chanteuse in the City: The Realist Singer in French Film. The Chaplin Machine: Slapstick, Fordism and the Communist Avant- Garde. Charles Burnett: Interviews. Charles Walters: The Director Who Made Hollywood Dance. Children of Marx and Coca- Cola: Chinese Avant- garde Art and Independent Cinema.
The Children's Film: Genre, Nation, and Narrative. China on Screen: Cinema and Nation. China's Encounter with Global Hollywood: Cultural Policy and the Film Industry, 1. The Chinese Diaspora on American Screens: Race, Sex, and Cinema.
Chinese Looks: Fashion, Performance, Race. Chinese Martial Arts Cinema: The Wuxia Tradition. Chinese Martial Arts Cinema: The Wuxia Tradition. Chinese Shakespeares: Two Centuries of Cultural Exchange.
Chinese Women's Cinema: Transnational Contexts. Christian Petzold. Chronicle of a Camera: The Arriflex 3. North America, 1. The CIA in Hollywood.
Cine y naci. Adorno. Cinema and Fascism: Italian Film and Society, 1. Cinema and Semiotic: Peirce and Film Aesthetics, Narration, and Representation. Cinema and Sensation: French Film and the Art of Transgression. Cinema and the Sandinistas.
Cinema at the Edges: New Encounters with Julio Medem, Bigas Luna and Jose Luis Guerin. Cinema at the Margins. Cinema by Design: Art Nouveau, Modernism, and Film History. The Cinema Dreams Its Rivals: Media Fantasy Films from Radio to the Internet. Cinema, Emergence, and the Films of Satyajit Ray.
Cin. Romero: Knight of the Living Dead. The Cinema of George A. Romero: Knight of the Living Dead. The Cinema of Hal Hartley: Flirting with Formalism. The Cinema of Istv.
Selig, the Man Who Invented Hollywood. The Collaboration. The Colonial Documentary Film in South and South- East Asia.
The Columbia Companion to American History on Film: How the Movies Have Portrayed the American Past. Columbia Pictures: Portrait of a Studio. The Comedia in English: Translation and Performance. Comedy and Cultural Critique in American Film. Comedy Is a Man in Trouble: Slapstick in American Movies.
The Comic Book Film Adaptation: Exploring Modern Hollywood’s Leading Genre. Comic Medievalism: Laughing at the Middle Ages. Coming Attractions. Communications Media, Globalization, and Empire. A Companion to Golden Age Theatre. A Companion to Latin American Film.
A Companion to Luis Bu. Griffith: Interviews. Dalton Trumbo: Blacklisted Hollywood Radical.
The Dame in the Kimono: Hollywood, Censorship, and the Production Code. Dames in the Driver's Seat.
Dance and the Hollywood Latina: Race, Sex, and Stardom. Dangerous Curves: Action Heroines, Gender, Fetishism, and Popular Culture. Danny Boyle: Interviews.
Dante, Cinema, and Television. Dario Argento. 2. Dashiell Hammett and the Movies.
David Cronenberg's A History of Violence. David Lynch. 2. 01. David Lynch Swerves: Uncertainty from Lost Highway to Inland Empire. Death and the Moving Image: Ideology, Iconography and I. Death of the Moguls: The End of Classical Hollywood. Deaths in Venice: The Cases of Gustav von Aschenbach.
Deathwatch: American Film, Technology, and the End of Life. The Decline of Sentiment: American Film in the 1. DEFA after East Germany.
Deleuze, Altered States and Film. Deleuze and Film. Deleuze and Horror Film. Deleuze and the Cinemas of Performance: Powers of Affection. The Demons of Modernity: Ingmar Bergman and European Cinema. Denys Arcand's Le Declin de l'empire americain and Les Invasions barbares. Designing Interdisciplinary Education: A Practical Handbook for University Teachers.
Designing Sound: Audiovisual Aesthetics in 1. American Cinema. 2. Destination London: German- Speaking Emigres and British Cinema, 1. Deterritorializing the New German Cinema.
The Devil You Dance With: Film Culture in the New South Africa. Cult Classics Movies Ant Boy 2 (2015). The Differentiation of Modernism: Postwar German Media Arts.
Digital Imaging in Popular Cinema. Digital Material: Tracing New Media in Everyday Life and Technology.
Digital Music Videos. Digital Visual Effects in Cinema: The Seduction of Reality. Disaster Movies: The Cinema of Catastrophe.
Discovering Orson Welles. Dismantling the Dream Factory: Gender, German Cinema, and the Postwar Quest for a New Film Language.
Disney Culture. 2. The Disney Fetish. Dissident Voices: The Politics of Television and Cultural Change. Distribution Revolution: Conversations about the Digital Future of Film and Television.
Divas on Screen: Black Women in American Film. Divine Decadence: Fascism, Female Spectacle, and the Makings of Sally Bowles. Documental (es): Voces. Ulmer: A Filmmaker at the Margins. The Edinburgh Festivals: Culture and Society in Post- war Britain. Edith Bruck in the Mirror: Fictional Transitions and Cinematic Narratives. Editing and Special/Visual Effects.
Edna Ferber's Hollywood. El camino inverso: del cine al teatro. Orientalism. 2. 01. The Epic Cinema of Kumar Shahani.
Epic Sound: Music in Postwar Hollywood Biblical Films. Film Industry. 2. Flickers of Desire: Movie Stars of the 1. Flickers of Film: Nostalgia in the Time of Digital Cinema. A Foreign Affair: Billy Wilder's American Films. Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary. Forgotten Dreams: Revisiting Romanticism in the Cinema of Werner Herzog.
Framing Africa: Portrayals of a Continent in Contemporary Mainstream Cinema. Framing Female Lawyers.
Framing Pictures: Film and the Visual Arts. Framing the Fifties: Cinema in a Divided Germany. Francis Ford Coppola. Francois Ozon. 2. Fran. Romero: Interviews. George Cukor: A Double Life. George Cukor: Hollywood Master.
George Gallup in Hollywood. Germaine Dulac: A Cinema of Sensations. German Film after Germany: Toward a Transnational Aesthetic. German Memory Contests: The Quest for Identity in Literature, Film, and Discourse since 1. The German Patient: Crisis and Recovery in Postwar Culture. German Romance V: Erec.
Ghostlife of Third Cinema: Asian American Film and Video. The Girl from God's Country: Nell Shipman and the Silent Cinema.
Girls in the Back Room: Looking at the Lesbian Bar. Girls Will Be Boys: Cross- Dressed Women, Lesbians, and American Cinema, 1. Giuseppe De Santis.
Glamour in a Golden Age: Movie Stars of the 1. Global Bollywood. Global Bollywood: Travels of Hindi Song and Dance. Global Cinematic Cities: New Landscapes of Film and Media. Global Currents: Media and Technology Now.
Global Neorealism: The Transnational History of a Film Style. Global Nollywood: The Transnational Dimensions of an African Video Film Industry. Gloria Swanson: Ready for Her Close- Up. Godfather: The Intimate Francis Ford Coppola. A Great Big Girl Like Me: The Films of Marie Dressler.
The Great Black Spider on Its Knock- Kneed Tripod: Reflections of Cinema in Early Twentieth- Century Italy.
The Day the Movies Died. No, Hollywood films aren't going to get better anytime soon. Ipod Night School Documentary (2017) 2010 there.
Mark Harris on the (potential) death of the great American art form. You want to understand how bad things are in Hollywood right now—how stifling and airless and cautious the atmosphere is, how little nourishment or encouragement a good new idea receives, and how devoid of ambition the horizon currently appears—it helps to start with a success story. Consider: Years ago, an ace filmmaker, the man who happened to direct the third- highest- grossing movie in U. S. It's a story he loved—in fact, he wrote it himself—and it belonged to a genre, the sci- fi action thriller, that zipped right down the center lane of American popular taste.
He cast as his leading man a handsome actor, Leonardo Di. Caprio, who happened to star in the second- highest- grossing movie in history. Finally, to cover his bet even more, he hired half a dozen Oscar nominees and winners for supporting roles. Sounds like a sure thing, right?
Exactly the kind of movie that a studio would die to have and an audience would kill to see? Well, it was. That film, Christopher Nolan's Inception, received admiring reviews, became last summer's most discussed movie, and has grossed, as of this writing, more than three- quarters of a billion dollars worldwide.
And now the twist: The studios are trying very hard not to notice its success, or to care. Before anybody saw the movie, the buzz within the industry was: It's just a favor Warner Bros. After it started to screen, the party line changed: It's too smart for the room, too smart for the summer, too smart for the audience.
Just before it opened, it shifted again: Nolan is only a brand- name director to Web geeks, and his drawing power is being wildly overestimated. After it grossed $6. Yeah, that's pretty good, but it just means all the Nolan groupies came out early—now watch it drop like a stone. And here was the buzz three months later, after Inception became the only release of 2.
Huh. Well, you never know. Well, you never know. That kind of thinking is why Hollywood studio filmmaking, as 2. I don't mean that there are fewer really good movies than ever before (last year had its share, and so will 2. Caution has made them pull away. It's infected the entire business. Inception, they will tell you, is an exceptional movie.
And movies that need to be exceptional to succeed are bad business. Because in terms of execution, most movies disappoint.
One prequel to an adaptation of a comic book. One sequel to a sequel to a movie based on a toy. One sequel to a sequel to a sequel to a movie based on an amusement- park ride. One prequel to a remake.
Two sequels to cartoons. One sequel to a comedy. An adaptation of a children's book. An adaptation of a Saturday- morning cartoon. One sequel with a 4 in the title. Two sequels with a 5 in the title.
One sequel that, if it were inclined to use numbers, would have to have a 7 1/2 in the title. And no Inception. Now, to be fair, in modern Hollywood, it usually takes two years, not one, for an idea to make its way through the alimentary canal of the system and onto multiplex screens, so we should really be looking at summer 2. Nolan's success. So here's what's on tap two summers from now: an adaptation of a comic book. A reboot of an adaptation of a comic book. A sequel to a sequel to an adaptation of a comic book. A sequel to a reboot of an adaptation of a TV show.
A sequel to a sequel to a reboot of an adaptation of a comic book. A sequel to a cartoon.
A sequel to a sequel to a cartoon. A sequel to a sequel to a sequel to a cartoon. A sequel to a sequel to a sequel to a sequel to a movie based on a young- adult novel. And soon after: Stretch Armstrong. You remember Stretch Armstrong, right?
That rubberized doll you could stretch and then stretch again, at least until the sludge inside the doll would dry up and he would become Osteoporosis Armstrong? A toy that offered less narrative interest than bingo? Let me stipulate that we will probably come out of three or four of the movies categorized above saying . Right now, we can argue that any system that allows David Fincher to plumb the invention of Facebook and the Coen brothers to visit the old West, that lets us spend the holidays gorging on new work by Darren Aronofsky and David O.
Russell, has got to mean that American filmmaking is in reasonably good health. But the truth is that we'll be back to summer—which seems to come sooner every year—in a heartbeat. And it's hard to hold out much hope when you hear the words that one studio ecutive, who could have been speaking for all her kin, is ready to chisel onto Hollywood's tombstone: . Madagascar 3; Ice Age: Continental Drift in 3.
D; The Twilight Saga: Breaking Dawn, Part 2.? There's no overarching theory, no readily identifiable villain, no single moment to which the current combination of caution, despair, and underachievement that defines studio thinking can be traced. But let's pick one anyway: Top Gun. It's now a movie- history commonplace that the late- '6. American moviemaking—the Coppola- Altman- Penn- Nichols- Bogdanovich- Ashby decade—was cut short by two movies, Jaws in 1. Star Wars in 1. 97.
But good summer blockbusters never hurt anyone, and in the decade that followed, the notion of . The label could encompass a science fiction film as hushed and somber as Alien, a two- and- a- half- hour horror movie like The Shining, a directorial vision as singular as Blade Runner, an adult film noir like Body Heat, a small- scale (yes, it was) movie like E. T. The Extra- Terrestrial, a frankly erotic romantic drama like An Officer and a Gentleman. Sex was okay—so was an R rating. Adults were treated as adults rather than as overgrown children hell- bent on enshrining their own arrested development. Then came Top Gun.
The man calling the shots may have been Tony Scott, but the film's real auteurs were producers Don Simpson and Jerry Bruckheimer, two men who pioneered the . At their most basic, their movies weren't movies; they were pure product—stitched- together amalgams of amphetamine action beats, star casting, music videos, and a diamond- hard laminate of technological adrenaline all designed to distract you from their lack of internal coherence, narrative credibility, or recognizable human qualities. They were rails of celluloid cocaine with only one goal: the transient heightening of sensation. Top Gun landed directly in the cortes of a generation of young moviegoers whose attention spans and narrative tastes were already being recalibrated by MTV and video games.
That generation of 1. Top Gun because it was custom- built to excite them—is now in its forties, exactly the age of many mid- and upper- midrange studio ecutives. And increasingly, it is their taste, their appetite, and the aesthetic of their late- '8. Which may be a brutally unfair generalization, but also leads to a legitimate question: Who would you rather have in charge—someone whose definition of a classic is Jaws or someone whose definition of a classic is Top Gun? The Top Gun era sent the ambitions of those who wanted to break into the biz spiraling in a new direction. Fifteen years earlier, scores of young people headed to film schools to become directors. With the advent of the Reagan years, a more bottom- line- oriented cadre of would- be studio players was born, with an MBA as the new Hollywood calling card.
The Top Gun era shifted that paradigm again—this time toward marketing. Which was only natural: If movies were now seen as packages, then the new kings of the business would be marketers, who could make the wrapping on that package look spectacular even if the contents were deficient.
In some ways, the ascent of the marketer was inevitable: Now that would- be blockbusters often open on more than 4,0. According to the Los Angeles Times, the studios spent $1 billion just to market the movies that were released in the summer of 2.