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Literárne informacné centrum
The Literary Information Center (LIC) is the window through which Slovak literature is presented to the world. Our primary goal is to facilitate live contact between Slovak and foreign publishers, authors, illustrators and cultural-events organizers and to support mutual collaboration and cultural exchange. LIC acts as an agent for the majority of Slovak authors and houses SLOLIA, the popular grant program for translators and publishers of Slovak literature. LIC also organizes national stands at foreign bookfairs sucha s Bologna, London, Paris, Prague and Budapest.
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Promoted Content
The ArtsJune 2021Genre and performance: film and television
by Christine Cornea
Looking at contemporary film and television, this book explores how popular genres frame our understanding of on-screen performance. Previous studies of screen performance have tended to fix upon star actors, directors, or programme makers, or they have concentrated upon particular training and acting styles. Moving outside of these confines, this book provides a truly interdisciplinary account of performance in film and television and examines a much neglected area in our understanding of how popular genres and performance intersect on screen. Each chapter concentrates upon a particular genre or draws upon generic case studies in examining the significance of screen performance. Individual chapters examine contemporary film noir, horror, the biopic, drama-documentary, the western, science fiction, comedy performance in 'spoof news' programmes and the television 'sit com' and popular Bollywood films.
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The ArtsFebruary 2005New challenges for documentary
Second edition
by Alan Rosenthal, John Corner, Martin Hargreaves
The first edition of New challenges for documentary provided a major stimulus for teaching about documentary film and television and fresh encouragement for critical thinking about practice. This second edition brings together many new contributions both from academics and filmmakers, reflecting shifts both in documentary production itself, and in ways of discussing it. Once again, the emphasis has been on clear and provocative writing, sympathetic to the practical challenges of documentary film-making but making connections with a range of work in media and communications analysis. With its wide range of contributors and the international scope of its agenda, New challenges for documentary will be essential reading for general filmmakers and documentary students both of academic and practical inclinations. ;
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The ArtsOctober 2013Photography and documentary film in the making of modern Brazil
by Luciana Martins, Amelia Jones, Marsha Meskimmon
Photography and documentary film in the making of modern Brazil provides a major contribution to the field of visual culture through a study of still and moving images of Brazil in the first four decades of the twentieth century, when the camera played a key role in making Brazilian peoples and places visible to a variety of audiences. The book explores what is distinctive about the visual representation of Brazil in an era of modernisation, also attending to the significance of the different technical properties of film and photography for the writing of new histories of visual technologies. It offers new insights into the work of key writers, photographers, anthropologists and filmmakers, including Claude Lévi-Strauss, Mário de Andrade, Silvino Santos and Aloha Baker. Unearthing a wealth of materials from archives in the USA, Britain, and Brazil, the book seeks to contribute to the postcolonial theoretical project of pinpointing locally distinctive histories of visual technologies and practices. ;
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Humanities & Social SciencesJuly 2022The looking machine
Essays on cinema, anthropology and documentary filmmaking
by David MacDougall
This new collection of essays presents the latest thoughts of one of the world's leading ethnographic filmmakers and writers on cinema. It will provide essential reading for students in cinema studies, filmmaking, and visual anthropology. The dozen wide-ranging essays give unique insights into the history of documentary, how films evoke space, time and physical sensations, and the intellectual and emotional links between filmmakers and their subjects. In an era of reality television, historical re-enactments, and designer packaging, MacDougall defends the principles that inspired the earliest practitioners of documentary cinema. He urges us to consider how the form can more accurately reflect the realities of our everyday lives. Building on his own practice in filmmaking, he argues that this means resisting the pressures for self-censorship and the inherent ethnocentrism of our own society and those we film.
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The ArtsJuly 2024Public information films
British government film units, 1928–52
by Alan Harding
In the years after the First World War the British government had to adapt its communication policy to connect with the new mass electorate. This book examines the government's own Film Units and their slow development of the Public Information Film. By reviewing the entire film catalogue produced by the Empire Marketing Board, the General Post Office and Crown Film Units, particular themes are identified which not only reflect the demands of the Units' sponsors but also the anxieties and concerns of the 1930s and 1940s. The impact of the films is explored through the contemporary reaction of the audiences to them. By the time the Crown Film Unit was closed in 1952 a style of Public Information Film had been developed and continued into the 1970s.
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The ArtsSeptember 2024The Cinema of Cecilia Bartolomé
Feminism and Francoism
by Sally Faulkner
Were it not for authoritarian state censorship, Cecilia Bartolomé's name would figure alongside those of her contemporaries Agnès Varda and Claire Denis as a pioneering feminist filmmaker of the twentieth century. With this bold claim, this book seeks both to write the history of Bartolomé's extant filmography, and speculative about censored and un-filmed work, thereby fashioning a new way of writing a feminist creative life in film. The first volume on this director to be written in English, The Cinema of Cecilia Bartolomé is also the first volume on the director published in any language for over twenty years. By focusing on Spanish-language cinema of the 1960s-1990s, the period when feminism, like democracy, was re-born and seemingly consolidated in Spain, the study brings historical depth and transnational reach to current debates in the wake of #MeToo.
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The ArtsJanuary 2019Alain Resnais
by Emma Wilson
Alain Resnais, director of 'Hiroshima mon amour' (1959) and 'L'Annee derniere a Marienbad' (1961), has transformed the representation of memory, fantasy and desire in modern cinema. This illuminating introduction to his work, extending from his earliest documentaries to the musical films of the last decade, traces the evolving patterns of his filmmaking, its changing reflections on mortality, guilt, chance and human doubt. Exploring questions of the time-image, of trauma, of the senses, this volume sets Resnais' films in the context of important current debates in film theory, and provides a concise account of critical discussions of his work in France and beyond. Yet it also offers a highly personal and detailed engagement with individual images and scenes in Resnais' films. A passionate and partial defence of Resnais' work, old and new, this volume stands apart in its attention to the more tangible and moving pleasures of his films, their pathos, rigour and visual beauty.
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The ArtsJanuary 2019Spanish cinema 1973–2010
Auteurism, politics, landscape and memory
by Maria M. Delgado, Robin Fiddian
This collection offers a new lens through which to examine Spain's cinema production following the isolation imposed by the Franco regime. The seventeen key films analysed in the volume span a period of 35 years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. They encompass different genres (horror, thriller, melodrama, social realism, documentary), both popular (Los abrazos rotos/Broken Embraces, Vicky Cristina Barcelona) and more select art house fare (En la ciudad de Sylvia/In the City of Sylvia, El espíritu de la colmena/Spirit of the Beehive) and are made in English (as both first and second language), Basque, Castilian, Catalan and French. Offering an expanded understanding of 'national' cinemas, the volume explores key works by Guillermo del Toro and Lucrecia Martel alongside an examination of the ways in which established auteurs (Almodóvar, José Garci, Carlos Saura) and younger generations of filmmakers (Cesc Gay, Amenábar, Bollaín) have harnessed cinematic language towards a commentary on the nation-state. The result is a bold new study of the ways in which film has created new prisms that have determined how Spain is positioned in the global marketplace.
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Business, Economics & LawOctober 2022Resilient reporting
Media coverage of Irish elections since 1969
by Michael Breen, Michael Courtney, Iain Mcmenamin, Eoin O'Malley, Kevin Rafter
This book examines how election news reporting has changed over the last half century in Ireland by means of a unique dataset involving 25m words from newspapers as well as radio and television coverage. The authors examine reporting in terms of framing, tone and the distribution of coverage.They also focus on how the economy has affected election coverage as well as media reporting of leaders and personalities, gender and the effect of the commercial basis of media outlets. The findings - drawn from a machine learning computer system involving a huge content analysis study - will interest academics as well as politicians and policymakers internationally.
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Humanities & Social SciencesMarch 2007The naval war film
Genre, history and national cinema
by Jonathan Rayner
This book undertakes a unique, coherent and comprehensive consideration of the depiction of naval warfare in the cinema. The films under discussion encompass all areas of naval operations in war, and highlight varying institutional and aesthetic responses to navies and the sea in popular culture. The examination of these films centres on their similarities to and differences from the conventions of the war genre and seeks to determine whether the distinctive characteristics of naval film narratives justify their categorisation as a separate genre or sub-genre in popular cinema. The explicit factual bases and drama-documentary style of many key naval films, such as In Which We Serve, They Were Expendable and Das Boot, also requires the consideration of these films as texts for popular historical transmission. Their frequent reinforcement of establishment views of the past, which derives from their conservative ideological position towards national and naval culture, makes these films key texts for the consideration of national cinemas as purveyors of contemporary history as popularly conceived by filmmakers and received by audiences. ;
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The ArtsJanuary 2019Realist film theory and cinema
The nineteenth-century Lukácsian and intuitionist realist traditions
by Ian Aitken
'Realist film theory and cinema' embraces studies of cinematic realism and 19th century tradition, the realist film theories of Lukács, Grierson, Bazin and Kracauer, and the relationship of realist film theory to the general field of film theory and philosophy. This is the first book to attempt a rigorous and systematic application of realist film theory to the analysis of particular films. The book suggests new ways forward for a new series of studies in cinematic realism, and for a new form of film theory based on realism. It stresses the importance of the question of realism both in film studies and in contemporary life. Aitken's work will be of interest to scholars and advanced students of film studies, literary studies, media studies, cultural studies and philosophy.
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The ArtsJune 2021Lukácsian film theory and cinema
A study of Georg Lukács' writing on film 1913–1971
by Ian Aitken
Lukácsian film theory and cinema explores Georg Lukács' writings on film. The Hungarian Marxist critic Georg Lukács is primarily known as a literary theorist, but he also wrote extensively on the cinema. These writings have remained little known in the English-speaking world because the great majority of them have never actually been translated into English - until now. Aitken has gathered together the most important essays and the translations appear here, often for the first time. This book thus makes a decisive contribution to understandings of Lukács within the field of film studies, and, in doing so, also challenges many existing preconceptions concerning his theoretical position. For example, whilst Lukács' literary theory is well known for its repudiation of naturalism, in his writings on film Lukács appears to advance a theory and practice of film that can best be described as naturalist. Lukácsian film theory and cinema is divided into two parts. In part one, Lukács' writings on film are explored, and placed within relevant historical and intellectual contexts, whilst part two consists of the essays themselves. This book will be of considerable interest to scholars and students working within the fields of film studies, literary studies, intellectual history, media and cultural studies. It is also intended to be the final volume in a trilogy of works on cinematic realism, which includes the author's earlier European film theory and cinema (2001), and Realist film theory and cinema (2006).
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The ArtsJanuary 2019European Film Noir
by Andrew Spicer
European Film Noir is the first book to bring together specialist discussions of film noir in specific European national cinemas. Written by leading scholars, this groundbreaking study provides an authoritative understanding of an important aspect of European cinema and of film noir itself, for too long considered as a solely American form. The Introduction reviews the problems of defining film noir, its key characteristics and discusses its significance to the development of European film, the relationship of specific national films noirs to each other, to American noir and to historical and social change. Eight chapters then discuss film noir in France, Germany, Britain and Spain, analysing both earlier developments and the evolution of neo-noir through to the present. A further chapter explores film noir in Italian cinema where its presence is not so well defined. Each piece provides a critical overview of the most significant films in relation to their industrial and social contexts. European Film Noir is an important contribution to the study of European cinema that will have a broad appeal to undergraduates, cinéastes, film teachers and researchers.
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The ArtsJune 2021Medieval film
by Anke Bernau, Bettina Bildhauer
Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a 'medieval film'? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film - and find the medieval lurking in inexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves. Medieval Film will be of interest to medievalists working in disciplines including literature, history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.
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The ArtsJanuary 2019Medieval film
by Anke Bernau, Bettina Bildhauer
Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a 'medieval film'? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film - and find the medieval lurking in unexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves. Medieval film will be of interest to medievalists working in disciplines including literature, history, art history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.
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The ArtsJanuary 2019Agnes Varda
by Alison Smith
The first introduction in English devoted wholly to Varda and aimed at a general and student audience. Places Varda's major films in the context of her whole oeuvre and follows the development of important themes across her work.
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Film, TV & radioNovember 2014Spanish cinema 1973–2010
Auteurism, politics, landscape and memory
by Edited by Maria M. Delgado and Robin Fiddian
This collection offers a new lens through which to examine Spain's cinema production following the isolation imposed by the Franco regime. The seventeen key films analysed in the volume span a period of thirty-five years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. They encompass different genres (horror, thriller, melodrama, social realism, documentary), both popular (Los abrazos rotos/Broken Embraces, Vicky Cristina Barcelona) and more select art house fare (En la ciudad de Sylvia/In the City of Sylvia, El espíritu de la colmena/Spirit of the Beehive) and are made in English (as both first and second language), Basque, Castilian, Catalan and French. Offering an expanded understanding of 'national' cinemas, the volume explores key works by Guillermo del Toro and Lucrecia Martel alongside an examination of the ways in which established auteurs (Almodóvar, José Garci, Carlos Saura) and the younger generations of filmmakers (Cesc Gay, Amenábar, Bollaín) have harnessed cinematic language towards a commentary on the nation-state.
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August 2002Angela Davis löscht ihre Website
Listen, Refrains, Abbildungen
by Andreas Neumeister
»Erst wenn schließlich auch die Werbeblöcke gestrichen werden,« so eine zuverlässige Faustregel, »ist die Sache wirklich ernst.« Eine weltmachterschütternde Kamikaze-Aktion oder wenigstens ein rekordverdächtiger Amoklauf vor der eigenen Haustür – es muß knüppeldick kommen, um die tägliche Infotainment-Maschinerie aus dem Takt zu bringen. »Das System, in dem wir leben«, ist auf den ersten Blick mehr ein mediales als ein politisch-ökonomisches. Auf den zweiten Blick ist beides identisch. In »Angela Davis löscht ihre Website« verbinden sich politisches Denken und Pop, der forcierte Blick auf die Gegenwarts-Oberfläche und dessen ständige Infragestellung vor dem Hintergrund der Historie auf. »Vortäuschung falscher Tatsachen«, so die Frage, »oder Vortäuschung richtiger Tatsachen?« Schwer zu durchschauen – gerade angesichts von Gewalt und kriegerischer Auseinandersetzung und ihren jeweiligen Rechtfertigungen –, was Realität ist, was Medienrealität, was auslösende Gewalt, was angeblich gerechte »Vergeltung der Vergeltung der Vergeltung«. »Gibt es die neue Weltordnung schon?« In »Angela Davis löscht ihre Website« geht es um nichts Geringeres als um »das Zeitalter, in dem wir leben/ die Epoche, in der wir leben«, in der Gegensätze und Haltungen mitunter ununterscheidbar geworden sind; Veronas Welt und Sofies Welt stehen ebenso selbstverständlich nebeneinander wie MTV und CNN. »Kriegsfilm?/ Antikriegsfilm?/ Kriegsberichterstattung?« heißt es wiederholt aus dem Off, denn es gilt die unmißverständliche Losung: »seit 5 Uhr 45 wird zurückgefragt.«
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Lifestyle, Sport & LeisureJune 2024Round our way
Sam Hanna's visual legacy
by Heather Nicholson
Sam Hanna (1903-96), a pioneering filmmaker from Burnley, Lancashire, was dubbed the 'Lowry of filmmaking' by BBC broadcaster Brian Redhead in the 1980s. The well-meant label stuck, even though it misses the variety of Hanna's remarkable output. Hanna's intimate glimpses into the lives of strangers enable us to imagine the possible stories that lie behind the images. Away from mid-century exponents of documentary filmmaking and photography, Hanna shows us humanity and a microcosm of a world in change, where his subjects are caught up in issues far beyond their grasp that we, as onlookers years later, encounter and see afresh. Written and curated by historian Heather Norris Nicholson, Round our way combines stills, essays and archive photography to document Hanna's unique visual record on film, particularly in northern England, but also further afield, during decades of profound change.
