Film 2008-2009 ~ Paperback ~ Heather Addison

Film 2008-2009 ~ Paperback ~ Heather Addison
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This Second Edition of "Annual Editions: Film 08/09" provides convenient, inexpensive access to current articles selected from the best of the public press. Organizational features include: an annotated listing of selected World Wide Web sites; an annotated table of contents; a topic guide; a general introduction; brief overviews for each section; a topical index; and an instructor's resource guide with testing materials. "Using Annual Editions In The Classroom" is offered as a practical guide for instructors.Table of ContentsPreliminary Contents UNIT 1. Style: Film Foundations 1. 46279 Fear and Fantasy, John Calhoun, American Cinematographer, January 2007 Cinematographer Guillermo Navarro explains how he and director Guillermo Del Toro crafted the imaginative, menacing settings of Pan's Labyrinth. 2. 46280 Tales of Upward Mobility, Kristen Whissel, Film Quarterly, Summer 2006 Using digital technology, post-1996 blockbusters have made increasingly dramatic use of the vertical axis of the film frame; scholar Kristen Whissel argues that it is time for critical analysis of this emerging "verticality." 3. 43145 Intensified Continuity, David Bordwell, Film Quarterly, Spring 2002 Despite what often appears to be narrative incoherence and/or stylistic fragmentation, mainstream American films still tend to follow the guidelines of the classical Hollywood style that emerged during the first half of the twentieth century; what has occurred is an intensification of long-established techniques. 4. 43330 Sound Doctrine, Michael Jarrett, Film Quarterly, Spring 2000 Using examples from several of his films, sound designer (and film editor) Walter Murch explains that well-crafted motion picture sound can prompt us to "hear" the world differently, just as paintings can help us to see the world from a new perspective. 5. 46282 Psycho: The Music of Terror, Jack Sullivan, Cineaste, Winter 2006 Jack Sullivan examines the "primordial dread" evoked by Bernard Herrmann's screeching score, which has become one of the most instantly recognizable examples of film music. 6. 46283 What Is 'Great' Acting?, Patrick McGilligan, Cineaste, Fall 2006 "Great" has become a routine adjective for screen performances, but what criteria should be used to judge the quality of movie acting? Patrick McGilligan argues that an original persona; range, versatility, and depth; careful directing; and creative screenwriting are all important ingredients of a "great" performance. 7. 46284 Breathtaking: Bette Davis's Performance at the End of Now, Voyager, Martin Shingler, Journal of Film and Video, Spring/Summer 2006 Now, Voyager is a classical example of Hollywood melodrama, a genre involving heightened emotions and histrionic performances; yet, Davis's final scene in the film offers a "magnificent example" of subtle body and voice control. 8. 46286 From Hollywood to Tokyo, Robert Davis and Riccardo de los Rios, Film Criticism, Fall 2006 Recent Hollywood blockbusters feature fantastic set pieces while relegating "concerns about character psychology [and narrative development] to ever-shrinking interstitial scenes." Davis and de los Rios consider three recent Japanese films that offer interesting, idiosyncratic ways to resolve the tension between spectacle and storytelling. 9. 46286 Yes, It's Been an Auteur's World. But Writers May Yet Get Their 'Film by' Due, David Kipen, Los Angeles Times, February 5, 2006 Directors are typically considered the "authors" of films, but Kipen argues that the artistic contributions made by screenwriters may be more essential to the filmmaking process. 10. 46287 Screenwriters on Adaptation, Marc Weinberg, Literature/Film Quarterly, Fall 2006 Robin Swicord, who wrote the screenplay for Memoirs of a Geisha, comments on the adaptation process--and her reputation for female character studies. 11. 43153 The Doyen of Direct Cinema, David E. Williams, American Cinematographer, February 2006 Respected documentarian Frederick Wiseman pioneered an unobtrusive approach to nonfiction filmmaking involving simple, stark recording of subjects without the use of voice-over narration, interviewing, or music. 12. 46289 The Accidental Auteur, Bert Cardullo, Bright Lights Film Journal, February 2007 Iranian director Abbas Kiarostami is renowned for his open-ended, strongly humanist films, produced in a country that both celebrates and restricts cinema. 13. 46290 Requiem for a Dream, Tom Mes, Film Comment, March-April 2007 Japanese animator Satoshi Kon has consistently produced other worldly dreamscapes that plumb the depths of the human subconscious. UNIT 2. Form: Film Modes and Genres 14. 43157 The Real Deal, Katerina Cizek, This Magazine, November/December 2005 Greater access to video cameras and the Internet has prompted more documentary production than ever before; we can all participate in the retelling and reinventing of human reality. 15. 43158 We Will Not Go Quietly, Willie Varela, Journal of Film and Video, Spring 2005 As moving image technology evolves and popular culture seems increasingly wedded to commercial, narrative filmmaking, artists who refuse to work within an established set of codes have an important role to play in the future of cinema. 16. 46292 Bollywood Cinema, Meenakshi Shedde, Cineaste, Summer 2006 The term "Bollywood" refers to mainstream Indian cinema produced in or around Mumbai (formerly Bombay); it encompasses a number of genres, including romance, melodrama, comedy, and action, all of which typically incorporate high-energy songs and dances. 17. 46293 Invisible Classics, Mark Cousins, Sight & Sound, February 2007 In the African continent lies a world of cinema--rich styles and themes, exhilarating stories, and major filmmaking talent. 18. 46294 Panning out for a Wider View, Rahul Hamid, Cineaste, Summer 2006 Iranian filmmakers have begun to make films that take place outside of the country, allowing us a "privileged glimpse into Iran's perspective on its neighbors and the internal politics of the Near East." 19. 46295 Indigenous Media Gone Global, Kristin Dowell, American Anthropologist, June 2006 Indigenous filmmakers are reclaiming the screen from dominant media representations so that stories from the perspectives of indigenous peoples can be told; scholar Kristen Dowell reports on a recent indigenous film showcase sponsored by the Museum of Modern Art and the Smithsonian National Museum of the American Indian. 20. 46296 Wuxia Pian, Mark Pollard, GreenCine.com, 2005 Mark Pollard briefly surveys the history of this Chinese martial arts genre that incorporates heroism, honor, and superhuman fighting ability and has much in common with Japan's samurai movies and America's westerns. Though the genre has experienced a rebirth in the wake of Crouching Tiger, Hidden Dragon, Pollard argues that it will never be as prolific as it once was. 21. 46297 Consuming Film Noir, Erik Dussere, Film Quarterly, Fall 2006 The iconography of film noir (the term used to identify a stylized group of 1940s and 1950s Hollywood films that offered a pessimistic portrait of urban life and the American dream) and neo-noir (a more recent cycle of similar films) has provided a consistent critique of consumer culture. 22. 46298 Cloaked Classification, Seth A. Friedman, Journal of Film and Video, Winter 2006 Some films that are identified as supernatural thrillers or crime dramas, such as The Sixth Sense or The Usual Suspects, are better understood as examples of the "misdirection" genre, or films that "rely on deception to divert the spectator from prematurely unearthing the secret." 23. 46299 Resurrecting and Updating the Teen Slasher, Valerie Wee, Journal of Popular Film and Television, Summer 2006 Although many analyses of the Scream trilogy have contended that its female survivors are less capable and self-determined than the Final Girls of earlier slasher films, Wee argues that Scream "refle cts a distinctly revolutionary stance" for the genre. UNIT 3. Economics: Film as an Industry 24. 43167 The Death of Film/The Decay of Cinema, Godfrey Cheshire, New York Press, August 26, 1999 As film is inexorably eclipsed by digital technology, the most immediate change that we can expect is video projection in movie theaters. Will something fundamental be lost when we no longer screen films on celluloid? 25. 46302 Film Festival Fever, Ger Zielinski, Canadian Journal of Film Studies, Fall 2006 Film festivals have become an increasingly important focus of film studies, especially in this age of "post-national world cinemas." Zielinski reviews three recent books that investigate the phenomenon of festivals, including Cannes, Sundance, Toronto, and others that are international but may operate on a smaller scale, such as gay and lesbian festivals. 26. 46303 Beyond Hollywood, Jeffrey Skoller, Afterimage, March/April 2007 The Rotterdam International Film Festival in the Netherlands is unique for its commitment to avant-garde film, Third Cinema, and other non-commercial films. 27. 46304 Anti-Hero Avengers and the Not-So-Lone Ranger, Kathleen Buddle, Canadian Dimension, January/February 2007 The ImagiNATIVE Film and Media Arts Festival is an annual international gathering that features Indigenous media work, including films, videos, radio programs, and new media installations. 28. 43176 Images on the Move, Wendy Everett, Screen, Spring 2005 As Europe adopts a multiethnic, multicultural way of life, it has the potential to produce outstanding films that go beyond the formulaic and move toward open-endedness, dynamism, and innovation. 29. 46305 American Indie, Mike Atkinson, Sight & Sound, April 2007 Often supported by big studios and stars, American independent filmmaking is less independent than ever. Can contemporary independent films be more properly called the "B-movies of the 21st century"? 30. 43171 Distribution Options Blossom for Indies, Stephanie Argy, American Cinematographer, March 2006 DVDs, the Internet, and iPods are important distribution avenues for independent filmmakers. 31. 43180 Bleary Days for Eyes on the Prize, Katie Dean, Wired, December 22, 2004 Until the Ford Foundation and a private philanthropist stepped forward, Eyes on the Prize, a landmark civil rights documentary, could no longer be broadcast and sold in the United States because the rights to some of the archival footage used in the film had expired and were prohibitively expensive to renew. 32. 46308 Why TV Is Better than the Movies, Devin Gordon, Newsweek, February 26, 2007 The Internet has raised anxieties for both the film and television industries; film studios have taken shelter beneath "big-tent franchises," while the TV industry "has gone the opposite route, welcoming anyone with an original idea." 33. 46310 Hollywood Asks YouTube: Friend or Foe?, Laura M. Holson, The New York Times, January 15, 2007 YouTube, the popular video-sharing site, may get thirty to seventy percent of its content from Hollywood-derived material. Film industry leaders are eager to create "content partnerships" and "revenue-sharing opportunities" with this new media giant--if copyright protections can be preserved. 34. 46312 Fair Use, Film, and the Advantages of Internet Distribution, Fred von Lohmann, Cinema Journal, Winter 2007 The doctrine of "Fair Use" allows filmmakers to use copyrighted material without permission (under certain circumstances), but those holding copyright often demand a "clearance" or permission payment, even when one is not legally required. The Internet may offer a solution. 35. 46314 All Eyes Focus on Animated Japan, Tad Osaki, Animation Magazine, April 2006 Anime continues to be a global film phenomenon, although the lines between anime, manga, and gaming are getting less and less distinct. 36. 46315 Sex, Lies, and Video Games, Jonathan Rauch, The Atlantic Monthly, November 2006 Films have been compared to dreams--but will the same comparison soon be suited to video games? Rauch explains that video games may be moving into a new era in which action and graphics are built upon a foundation of character development and emotional engagement. 37. 46301 Big Pictures, David Denby, The New Yorker, January 8, 2007 How will movies be produced, distributed, and exhibited in the digital era? Big-budget theatrical blockbusters may need to reinvent themselves, but theatrical exhibition itself is not likely to disappear, as it provides us with a compelling, immersive experience in which "image, language, movement, and music merge." UNIT 4. Ideology: Film and/in the World 38. 46318 Film Writing on the Web, Jonathan Rosenbaum, Film Quarterly, Spring 2007 On chat groups, blogs, print magazine sites, and stand-alone sites, the Internet features an ever-increasing volume of writing on film. Rosenbaum argues that this is neither a curse nor a blessing, but it does signal a paradigmatic shift in film analysis and evaluation. 39. 46317 Classics, Schmassics: What Do We Really Watch?, Mark Caro, Chicago Tribune, March 11, 2007 Movies' long-term popularity is frequently unrelated to their initial box-office or critical success--and may shift dramatically over time. 40. 46320 Red River, Nick Roddick, Sight & Sound, December 2006 The Host, an engaging South Korean monster movie directed by Bong Joon-ho, offers action, comedy--and a critique of social and governmental systems. 41. 46321 Riding Alone for Thousands of Miles, Robert Sklar, Cineaste, Fall 2006 Director Zhang Yimou's international reputation is based on his work in historical melodrama, although his more recent films have been in the martial arts genre. According to Sklar, Riding Alone, which focuses on a fisherman who tries to fulfill his estranged son's last wish, encapsulates many of the aesthetics and themes of Yimou's career. 42. 46322 When the Levees Broke: A Requiem in Four Acts, Ernest Callenbach, Film Quarterly, Winter 2006-07 Spike Lee's four-hour non narrative documentary is a "monumentally successful" account of the Hurricane Katrina tragedy in New Orleans, functioning as an "invitation to meditation and reflection." 43. 46323 Where Every Cop Is a Criminal, Brian D. Johnson, Maclean's, October 16, 2006 A remake of a 2002 Hong Kong film called Internal Affairs, Martin Scorsese's The Departed, according to Johnson, is an Oscar-worthy return to the "mean streets" of Scorsese's earlier films. 44. 46325 Glen or Glenda, Tanfer Emin Tunc and Nichole Prescott, Bright Lights Film Journal, August 2003 Director Ed Wood's classic camp film, released in 1953, offers a sympathetic portrait of male-to-female transvestites--and yet an overwhelming desire to eliminate that transvestitism through heterosexual means. 45. 46326 Helping Themselves, Erica Berenstein, Independent Film & Video Monthly, March 2006 Women have come a long way, but filmmaking is still a world dominated by men. Many women's organizations are attempting to support female filmmakers through production training or distribution and exhibition opportunities. 46. 46328 Elinor Glyn as Hollywood Labourer, Anne Morey, Film History, Spring 2006 Silent film screenwriter and novelist Elinor Glyn, known for her sexy stories aimed at female audiences, "cultivated power outside the role of author" through performance, supervision of films, and H ollywood commentary. 47. 46330 Becoming Cary Grant, Benjamin Schwarz, The Atlantic, January/February 2007 One of the twentieth-century's major motion picture icons, Cary Grant managed to blend the urbane and the rambunctious in a persona that was (and remains) witty, distracted, mocking, and bemused. 48. 46331 The Biggest Star You've Never Seen, Charles Taylor, salon.com, February 10, 2005 Asia--especially Bollywood--consistently produces some of the most charismatic screen personalities in the world, yet many of them remain relatively unknown in the United States; fabulously popular Bollywood star Aishwarya Rai is a case in point. 49. 46332 MPAA Ratings, Black Holes, and My Film, Joan M. West and Dennis West, Cineaste, Winter 2006 Kirby Dick's documentary, This Film Is Not Yet Rated, investigates the ratings system of the MPAA (Motion Picture Association of America), revealing that there is considerable industry dissatisfaction with the process--especially the NC-17 designation. 50. 46334 Film Studies and the Problems of the New Century, Robert B. Ray, New England Review, Fall 2006 Following the example of a nineteenth century mathematician who argued that a discipline remains vital only in so far as it has interesting problems (or questions) to investigate, film scholar Robert B. Ray proposes eight problems for film studies in the twenty-first century. Film 2008-2009 Release Date Australia: February 1st, 2018

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