The contributors address:
* British Cinema Studies and the concept of national cinema
* the distribution and reception of British films in the US and Europe
* key genres, movements and cycles of British cinema in the 1940s, 50s and 60s
* questions of authorship and agency, with case studies of individual studios, stars, producers and directors
* trends in British cinema, from propaganda films of the Second World War to the New Wave and the 'Swinging London' films of the Sixties
* the representation of marginalised communities in films such as Trainspotting and The Full Monty
* the evolution of social realism from Saturday Night, Sunday Morning to Nil By Mouth
* changing approaches to Northern Ireland and the Troubles in films like The Long Good Friday and Alan Clarke's Elephant
* contemporary 'art' and 'quality' cinema, from heritage drama to the work of Peter Greenaway, Derek Jarman, Terence Davies and Patrick Keiller.
Business Ethics Through Movies: A Case Study Approach examines a wide range of ethical dilemmas, principles and moral reasoning that arise in contemporary business through a series of popular films and real-world case studies.
- Engages readers in learning about ethical theory by using movies and both national and international case studies in business as the vehicle for analysis and reflection
- Facilitates comprehension of ethical issues by showing how characters in films confront issues, make choices, and face the consequences
- Draws from a variety of actual cases in Business Ethics - from the 1982 Tylenol poisoning and the 1989 Exxon Valdez disaster to recent examples such as the Foster Farms salmonella outbreak and the chemical spill in West Virginia
- Reveals the important role that ethics plays in setting the moral foundation of a business or corporation
- Develops critical thinking skills through applying analytical checklists to ethical dilemmas raised in films and in actual cases in Business Ethics
In the turbulent sixties, the provocative French film journal Cahiers du Cin ma was at its most influential and controversial. The first successes of the New Wave by major Cahiers contributors such as Jean-Luc Godard, Fran ois Truffaut, Jacques Rivette, Eric Rohmer, and Claude Chabrol focused international attention on the revitalization of French cinema and its relation to film criticism; and in the early 1960s the journal's laudatory critiques of popular American movies were attaining the greatest notoriety.
As the lively articles, interviews, and polemical discussions in this volume reveal, the 1960s saw the beginnings of significant new directions in filmmaking and film criticism changes in which the New Wave itself was a major factor. The auteur theory that the journal had championed in the 1950s began to be rethought and revalued. At the same time, along with a reassessment of American film, Cahiers began to embrace new, often oppositional forms of cinema and criticism, culminating in the political and aesthetic radicalism of the ensuing decade.
The selections, translated under the supervision of the British Film Institute, are annotated by Jim Hillier, and context is provided in his general introduction and part introductions. For an understanding of the important changes that took place in cinema and film criticism in the 1960s and beyond, this book is essential reading.
Compiled as a tool for re-educating the population of the three western zones of Occupation, this catalog lists 395 features, feature-length documentaries, and short films that were forbidden for public exhibition. The Zonal Film Archives originally held some 3200 feature titles and 2500 short titles. After viewing, those found to be harmless were returned to their owners, leaving the forbidden films documented in this catalog.
Each film entry gives credits (year, production, director, cast) together with an evaluation of the content. The films are listed in two sections: first, feature/feature-length documentaries and, second, shorts. They are further subdivided according to character and purpose (anti-American propaganda, or Nazi architectural propaganda, for example). There is a complete index of film titles and a list of all films produced in Germany between 1933 and 1945 by the Propaganda Ministry. An extensive introduction by noted historian K. R. M. Short places the work and a selection of related documents in full historical perspective. This catalog is a pivotal document for understanding the policies used to reconstruct and re-educate Germany between 1945 and 1951. As such it is invaluable to historians of Nazi and post-war Germany.
By the end of 1914, Charlie Chaplin had become the most popular actor in films, and reporters were clamoring for interviews with the comedy sensation. But no reporter had more access than Fred Goodwins. A British actor who joined Chaplin's stock company in early 1915, Goodwins began writing short accounts of life at the studio and submitted them to publications. In February 1916 the British magazine Red Letter published the first of what became a series of more than thirty-five of Goodwins's articles. Written in breezy prose, the articles cover a two-year period during which Chaplin's popularity and creativity reached new heights. Only one copy of the complete series is known to exist, and its recent rediscovery marks a significant find for Chaplin fans. Charlie Chaplin's Red Letter Days: At Work with the Comic Genius is a vivid account of the ebb and flow of life at the Chaplin studio. Goodwins was an astute observer who deepens our understanding of Chaplin's artistry and sheds new light on his personality. He also provides charming and revealing portraits of Chaplin's unsung collaborators, such as his beloved costar Edna Purviance, his burly nemesis Eric Campbell, and other familiar faces that populate his films. Goodwins depicts Chaplin in the white heat of artistic creation, an indefatigable imp entertaining and inspiring the company on the set. He also describes gloomy, agonizing periods when Chaplin was paralyzed with indecision or exhaustion, or simply frustrated that it was raining and they couldn't shoot. Reproduced here for the first time, the articles have been edited by film historian David James and annotated by Chaplin expert Dan Kamin to highlight their revelations. Illustrated with a selection of rare images that reflect the Chaplin craze, including posters, sheet music, and magazine covers, Charlie Chaplin's Red Letter Days provides a fascinating excursion into the private world of the iconic superstar whose films move and delight audiences to this day. It will appeal to movie fans, comedy buffs, and anyone who wants to know what really went on behind the scenes with Chaplin and his crew.
This is the first collection of translations of Chinese film theory to be published in English. By using translations rather than summaries, as other works have done, Chinese Film Theory provides readers with an introduction to the issues current in China's film circles. It includes eighteen chapters written by a broad range of writers--from well established scholars to young people at the beginning of their involvement in film in China. This collection indicates a trend away from the study of external qualities of film and toward a study of the film itself.
The volume has been carefully organized so that major issues are interrelated; thus, the book comprises an ongoing debate of film theory issues, progressing from earlier to most recent issues, following the debate concerning the relationship of film to literary arts, and looking at the debate over the relationship of film to culture. The book concludes that for the time being, debate has virtually ended because of the political situation in China. This book is an important new source to anyone interested in film studies, film theory, or Chinese studies.
Discusses the theoretical implications of the cinematographic image based on Henri Bergson's theories
From 1940 to 1944 the French cinema thrived both economically and artistically under the Nazi occupation. Despite the harsh and grim conditions of defeat, the French film industry produced many good films and a few enduring classics, including Carne's Children of Paradise, one of the most beloved of all French films.Cinema of Paradox reveals, for the first time in English, the difficult course of French filmmaking from the declaration of war in 1939 through four years of misery to France's liberation in 1944. Evelyn Ehrlich examines the conditions of filmmaking as they reflected the larger political, cultural, and social context within occupied France. And, using previously unexamined German documents, she also looks at the French film business from the occupier's perspective, showing how the Nazis actually encouraged the French to maintain their high cinematic standards to achieve German economic and propaganda goals. Cinema of Paradox goes beyond the old cliches about resistance films versus collaborationist films and in doing so is very much in line with new sophisticated methods of viewing the French experience in World War II. The book is filled with the famous names of the French cinema: performers such as Jean-Louis Barrault, Simone Signoret, and Harry Baur; directors including Bresson, Carne, and Clouzot; and the films themselves, including Les Dames du Bois de Boulogne and Le Corbeau. Based on interviews with French filmmakers of the period and on considerable research into French and German sources, Cinema of Paradox will be of interest not only to film historians but to those interested in the history of modern French and Jewish studies as well.
How films are conceived, planned, and produced leaves a mark upon the films, directly and structurally. The relations between film style and mode of production are, according to the authors, reciprocal and mutually influencing. The authors trace such topics as style, economics, and technology over time, demonstrating how significant changes occurrred in Hollywood from the earliest days through the sixties
Featuring rare, outstanding additional content, Clint Eastwood: Icon is the definitive collection of film art and material representing Clint Eastwood's legendary career as seen through the original iconic artwork.Clint Eastwood is a nameless vigilante, a vengeful detective, a bare-knuckle boxer, a Secret Service agent, and countless other definitive screen archetypes now embedded in our shared pop-culture consciousness. However you define him, Clint Eastwood has a powerful and extremely recognizable image that exists as something beyond the narratives of his films. Featuring a wealth of additional content, this new edition of Clint Eastwood: Icon presents an unprecedented collection of film art and rare material surrounding the legendary actor. This comprehensive trove gathers together poster art, lobby cards, standees, Italian Spaghetti Western Premier posters, studio ads, and esoteric film memorabilia from around the world. From his early roles as the nameless gunslinger in Sergio Leone's spaghetti Westerns, to the vigilante films of the 1970s and 1980s, through his directorial roles and latest releases, Clint Eastwood: Icon captures the powerful presence that turned Eastwood into the definitive American hero.