Description : From reviews of the third edition: "Film Genre Reader III lives up to the high expectations set by its predecessors, providing an accessible and relatively comprehensive look at genre studies. The anthology's consideration of the advantages and challenges of genre studies, as well as its inclusion of various film genres and methodological approaches, presents a pedagogically useful overview." —Scope Since 1986, Film Genre Reader has been the standard reference and classroom text for the study of genre in film, with more than 25,000 copies sold. Barry Keith Grant has again revised and updated the book to reflect the most recent developments in genre study. This fourth edition adds new essays on genre definition and cycles, action movies, science fiction, and heritage films, along with a comprehensive and updated bibliography. The volume includes more than thirty essays by some of film's most distinguished critics and scholars of popular cinema, including Charles Ramírez Berg, John G. Cawelti, Celestino Deleyto, David Desser, Thomas Elsaesser, Steve Neale, Thomas Schatz, Paul Schrader, Vivian Sobchack, Janet Staiger, Linda Williams, and Robin Wood.
Description : Genre in Asian Film and Television takes a dynamic approach to the study of Asian screen media previously under-represented in academic writing. It combines historical overviews of developments within national contexts with detailed case studies on the use of generic conventions and genre hybridity in contemporary films and television programmes.
Description : Kenneth Branagh is the most important contemporary figure in the production of filmed Shakespeare. His five feature-length Shakespeare films, Henry V (1989), Much Ado About Nothing (1993), Hamlet (1996), Love’s Labour’s Lost (2000) and As You Like It (2007) both created and represented the explosion of filmed Shakespeare adaptations that began in the 1990s. This book demonstrates Branagh’s appeal to classical film genres in order to meta-narrate for a popular audience the unfamiliar terrain of the Shakespearean original; it examines the debts Branagh owes, stylistically and structurally, to classically-defined generic modes. The generic appeal in Branagh’s films is one that grows progressively, becoming incrementally more critical to his Shakespearean adaptations as Branagh’s career progresses. Thus, his debut film, Henry V, is the least classically generic of all his films, relying primarily on intertextual and generic references to more contemporary styles, like the action genre and the Vietnam War film. Much Ado About Nothing represents a transitional moment in Branagh’s generic development; while the film closely accords to the norms of the screwball comedy, this generic correspondence derives primarily from the Shakespearean text. With Hamlet, Branagh begins to experiment with genre as a conceptual conceit: although the film owes much to classical domestic melodrama, particularly in Hamlet’s relationships with Gertrude and Ophelia, Branagh frames his domestic story with devices drawn from the classical Hollywood historical epic. Branagh’s spectacular failure Love’s Labour’s Lost demonstrates a unique subordination of the logic and authority of the Shakespearean source text to the demands of the classical musical form. Finally, Branagh’s most recent film, As You Like It, reveals a new approach towards working with filmed Shakespeare, while simultaneously “re-working” the generic structures and practices that characterize his earlier, more successful films.
Description : Film Genre for the Screenwriter is a practical study of how classic film genre components can be used in the construction of a screenplay. Based on Jule Selbo’s popular course, this accessible guide includes an examination of the historical origins of specific film genres, how and why these genres are received and appreciated by film-going audiences, and how the student and professional screenwriter alike can use the knowledge of film genre components in the ideation and execution of a screenplay. Explaining the defining elements, characteristics and tropes of genres from romantic comedy to slasher horror, and using examples from classic films like Casablanca alongside recent blockbuster franchises like Harry Potter, Selbo offers a compelling and readable analysis of film genre in its written form. The book also offers case studies, talking points and exercises to make its content approachable and applicable to readers and writers across the creative field.
Description : Liquid Metal brings together 'seminal' essays that have opened up the study of science fiction to serious critical interrogation. Eight distinct sections cover such topics as the cyborg in science fiction; the science fiction city; time travel and the primal scene; science fiction fandom; and the 1950s invasion narratives. Important writings by Susan Sontag, Vivian Sobchack, Steve Neale, J.P. Telotte, Peter Biskind and Constance Penley are included.
Description : In examining the enduring appeal that rags-to-riches stories exert on our collective imagination, this book highlights the central role that films have played in the ongoing cultural discourse about success and work in America.
Description : Hollywood's West examines popular perceptions of the frontier as a defining feature of American identity and history. Seventeen essays by prominent film scholars illuminate the allure of life on the edge of civilization and analyze how this region has been represented on big and small screens. Differing characterizations of the frontier in modern popular culture reveal numerous truths about American consciousness and provide insights into many classic Western films and television programs, from RKO's 1931 classic Cimarron to Turner Network Television's recent made-for-TV movies. Covering topics such as the portrayal of race, women, myth, and nostalgia, Hollywood's West makes a significant contribution to the understanding of how Westerns have shaped our nation's opinions and beliefs -- often using the frontier as metaphor for contemporary issues.
Description : What is the sentimental? How can we understand it by way of the visual and narrative modes of signification specific to cinema and through the manners of social interaction and collective imagining specific to a particular culture in transition? What can the sentimental tell us about the precarious foundations of human coexistence in this age of globalization? Rey Chow explores these questions through nine contemporary Chinese directors (Chen Kaige, Wong Kar-wai, Zhang Yimou, Ann Hui, Peter Chan, Wayne Wang, Ang Lee, Li Yang, and Tsai Ming-liang) whose accomplishments have become historic events in world cinema. Approaching their works from multiple perspectives, including the question of origins, nostalgia, the everyday, feminine "psychic interiority," commodification, biopolitics, migration, education, homosexuality, kinship, and incest, and concluding with an account of the Chinese films' epistemic affinity with the Hollywood blockbuster Brokeback Mountain, Chow proposes that the sentimental is a discursive constellation traversing affect, time, identity, and social mores, a constellation whose contours tends to morph under different historical circumstances and in different genres and media. In contemporary Chinese films, she argues, the sentimental consistently takes the form not of revolution but of compromise, not of radical departure but of moderation, endurance, and accommodation. By naming these films sentimental fabulations screen artifacts of cultural becoming with irreducible aesthetic, conceptual, and speculative logics of their own Chow presents Chinese cinema first and foremost as an invitation to the pleasures and challenges of critical thinking.