Products related to Film:
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Postwall German Cinema : History, Film History and Cinephilia
Since the fall of the Berlin Wall, there has been a proliferation of German historical films.These productions have earned prestigious awards and succeeded at box offices both at home and abroad, where they count among the most popular German films of all time.Recently, however, the country’s cinematic take on history has seen a significant new development: the radical style, content, and politics of the New German Cinema.With in-depth analyses of the major trends and films, this book represents a comprehensive assessment of the historical film in today’s Germany.Challenging previous paradigms, it takes account of a postwall cinema that complexly engages with various historiographical forms and, above all, with film history itself.
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Persistent Images : Encountering Film History in Contemporary Cinema
Channelling a focus on the history of cinema into the present and beyond, Persistent Images: Encountering Film History in Contemporary Cinema explores the continuing resonance of the memory of cinema as revealed in the technological and aesthetic expressions of a range of experimental practices.With case studies of films that reflexively foreground and creatively reimagine the past, including Shirin (2008), Goodbye to Language (2014) and Francofonia (2015), the book demonstrates how the medium of film can look simultaneously backwards and forwards, encountering and reframing the past in the present, and offering new ways of thinking about both film history and contemporary cinema alike.
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Contemporary Art Cinema Culture in China
How do contemporary Chinese audiences access art cinema?What are the alternative channels for the distribution and exhibition of art cinema in China?How is Chinese art cinema changing with the booming of internet media and commodity culture in the 21st century? To answer these questions, Xiang Fan explores the dynamic networks of art cinema in China in the 21st century, highlighting the cultural practices of intermediaries such as independent programmers, internet critics, and fan translators.Offering insights gleaned from original ethnographic research, Fan reveals how these intermediary practitioners think about cinema, negotiate judgement and appreciation, construct a discourse of value and taste, and most importantly, constitute a coordinated and interrelated network for the sharing of art cinema.She argues that although their motivation was derived from a cinephilia seeking to forge an alternative mode of distribution and reception, the ‘new’ cinema culture they have produced simultaneously negotiates a subtly complicit relationship with authoritative and market forces.In doing so, she offers an original interdisciplinary perspective on contemporary art cinema culture in Chinese society.
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Women, Feminism and Italian Cinema : Archives from a Film Culture
Italian cinema experienced its peak of domestic and international popularity in the years between the 'economic miracle' of the late 1950s and the social and political turmoil of the 1970s.But how did the growing development of the feminist movement in this period impact on Italian film culture? And what role did that film culture play in women's lives?This book explores the multiple intersections between feminism and Italian cinema from the perspective of women's everyday relationship with the medium.Drawing from a feminist approach to Gramscian cultural theory, the book builds an archival counter-history of Italian cinema in which women took part as movie-goers, activists and practitioners, by means of a collective-historical agency that challenged cinema's patriarchal structures and strategies of invisibilisation.
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'DDR Film Cinema'
DDR Film Cinema refers to the film industry in East Germany during the time when the country was known as the German Democratic Republic (GDR). The GDR had its own state-run film production company, DEFA, which produced a wide range of films including feature films, documentaries, and children's films. DDR Film Cinema was heavily influenced by the socialist ideology of the GDR government, and many films produced during this time promoted socialist values and ideals. Despite the political constraints placed on filmmakers by the government, DDR Film Cinema produced a number of critically acclaimed films that are still celebrated today for their artistic merit and unique perspective on life in East Germany.
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How do you find the film classic American History X?
I find the film classic American History X to be a powerful and thought-provoking exploration of the impact of hate and racism on individuals and communities. The film's portrayal of the main character's journey from a white supremacist ideology to a more enlightened perspective is both compelling and disturbing. The film's themes of redemption, forgiveness, and the destructive nature of hate make it a timeless and important piece of cinema. Overall, I believe American History X is a must-see film that offers a poignant and relevant commentary on the human experience.
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What is a classic film?
A classic film is a movie that has stood the test of time and continues to be highly regarded and influential, often across multiple generations. These films are typically known for their exceptional storytelling, memorable characters, and timeless themes that resonate with audiences. Classic films often have a lasting impact on the film industry and popular culture, and are celebrated for their artistic and cultural significance.
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'Who is your favorite film director?'
My favorite film director is Christopher Nolan. I admire his ability to create complex and thought-provoking narratives, as well as his innovative use of practical effects and non-linear storytelling. His films, such as "Inception," "The Dark Knight," and "Interstellar," consistently push the boundaries of the cinematic experience and leave a lasting impact on audiences. I appreciate his dedication to storytelling and his commitment to delivering visually stunning and intellectually stimulating films.
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Danish and German Silent Cinema : Towards a Common Film Culture
Analyses the cultural exchange of two important and highly entangled European film nations of the silent eraPresents new insights on famous films and stars like Asta Nielsen, Olaf F nss, and Pat & Patachon (also known as Long & Short)Employs diverse perspectives: production and distribution history, international cultural relations, celebrity studies, aesthetic analysisBased on extensive archival research in Germany and the Scandinavian countriesDiscusses the concept of national cinema and film historiography from an entangled film history perspectiveThe book examines how Danish and German film interacted with one another from 1910 through World War I till the advent of sound around 1930.The film businesses of the two countries were closely connected, and many film professionals crossed back and forth across national borders. The studies in this book include production and distribution history, censorship, celebrity studies, and aesthetic analysis.They contribute to European film and cultural history through extensive empirical investigation of films, persons and companies.The underlying perspective is that of entangled film history, an approach that stresses cross-border interchanges and mutual influences.Written by an international team of scholars, the book marks the conclusion of a four-year collective research project running alongside the stumfilm.dk initiative to digitise the entire Danish silent film heritage.
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Believing in Film : Christianity and Classic European Cinema
We live in a secular world and cinema is part of that secular edifice.There is no expectation, in modern times, that filmmakers should be believers – any more than we would expect that to be the case of novelists, poets and painters.Yet for all that this is true, many of the greatest directors of classic European cinema (the period from the end of World War II to roughly the middle of the 1980s) were passionately interested not only in the spiritual life but in the complexities of religion itself.In his new book Mark Le Fanu examines religion, and specifically Christianity, not as the repository of theological dogma but rather as an energizing cultural force – an ‘inflexion’ – that has shaped the narrative of many of the most striking films of the twentieth century.Discussing the work of such cineastes as Eisenstein and Tarkovsky from Russia; Wajda, Zanussi and Kieslowski from Poland; France’s Rohmer and Bresson; Pasolini, Fellini and Rossellini from Italy; the Spanish masterpieces of Buñuel, and Bergman and Dreyer from Scandinavia, this book makes a singular contribution to both film and religious studies.
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Film History and Screen Culture in and beyond Greater China
Bringing together work from established and emerging scholars and practitioners from around the world, this collection expands existing scholarship on cinemas of the Sinosphere by revealing forgotten and emerging aspects of film history. Organised chronologically, individual chapters cover geographic regions of mainland China, Hong Kong, and Taiwan to engage with key issues of film history and screen politics that are overlooked by the traditional canon of Chinese cinema.Tackling key debates on (post)colonialism, (cold)war, and their sociopolitical impacts on screen culture in these regions, this collection challenges the binary paradigms that are perpetuated in the historical scholarship of Chinese cinema, such as left-wing and right-wing cinema, commercial entertainment and political propaganda films, and mass consumption of genre films versus the critical acclaim of New Wave auteurism.Together, the essays reveal the cultural mobility across different geographic and sociopolitical borders, their intertwined experience of the past, and historical events’ impact on contemporary filmmaking and screen cultures. This collection will be of interest to students and researchers of Film, Media, and Cultural Studies as well as Asian Studies and Chinese Studies.
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History in Contemporary Art and Culture
This unique book offers guidance for contemporary art practices in dialogue with history, story, memory, and tradition. Artist and lecturer Paul O’Kane uses innovative and creative means, informed by a storytelling tradition as well as academic research, to make connections between contemporary art, history, and the past.The aim of this book is to give readers a sense of the profundity of historical questions, while making the challenge inviting, welcoming and manageable.It is designed to set out an expansive, inclusive and diverse range of potential directions, and speculations from which students can develop personal paths of enquiry.This is achieved by writing and designing the text in an accessible way and providing a range of ‘ways-in’.A series of carefully chosen references, examples, key texts, and possible essay questions are chosen and pitched at various levels and can be close-read, discussed, digested, and responded to either verbally or in the form of a presentation or essay. Written primarily for a broad range of fine arts students, this book encourages readers to reconsider their studies and art practices in light of a historical perspective, enhanced by creative contributions from artists, imaginative philosophers, and influential cultural commentators.
Price: 35.99 £ | Shipping*: 0.00 £
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'DDR Film Kino' translates to 'DDR Film Cinema' in English.
DDR Film Kino translates to DDR Film Cinema in English. This term refers to the cinema industry in the German Democratic Republic (East Germany) during the Cold War era. It encompasses the films produced and screened in East Germany during that time, reflecting the political and social context of the country. The DDR Film Kino played a significant role in shaping the cultural landscape of East Germany and continues to be studied and appreciated by film enthusiasts today.
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How does one become a film director?
Becoming a film director typically involves a combination of education, experience, and networking. Many directors start by studying film or a related field in college or film school to gain a strong understanding of the technical and creative aspects of filmmaking. They may also gain experience by working in various roles on film sets, such as assistant director or production assistant, to learn the ins and outs of the industry. Networking and building relationships with other professionals in the field is also crucial for finding opportunities and advancing in the industry. Ultimately, becoming a film director requires a combination of education, experience, and a strong passion for storytelling and visual expression.
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How can one become a film director?
To become a film director, one can start by gaining a strong understanding of the filmmaking process through education or hands-on experience. This can include studying film production, directing, and screenwriting at a film school or university, or gaining practical experience by working on film sets in various roles. Building a portfolio of work, such as short films or independent projects, can also help demonstrate one's skills and vision as a director. Networking within the film industry and seeking out mentorship opportunities can also be valuable in gaining experience and making connections that can lead to directing opportunities.
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What is the best classic war film?
One of the best classic war films is "Saving Private Ryan" directed by Steven Spielberg. This film is praised for its realistic portrayal of World War II, particularly the intense and gritty depiction of the D-Day invasion. The film's powerful storytelling, exceptional performances, and stunning cinematography have solidified its place as a classic in the war film genre. Its impact on audiences and critics alike make it a standout choice for the best classic war film.
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