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      • Trusted Partner
        The Arts
        June 2021

        Medieval 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.

      • Trusted Partner
        The Arts
        January 2019

        Medieval 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.

      • Trusted Partner
        The Arts
        June 2021

        Genre 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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        January 1989

        Film noir

        Die Schattenspiele der 'schwarzen Serie'

        by Werner, Paul

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        The Arts
        December 2022

        The cinema of Pedro Almodóvar

        by Ana María Sanchez-Arce

        This book offers a comprehensive film-by-film analysis of Spain's most famous living director, Pedro Almodóvar. It shows how Almodóvar's films draw on various national cinemas and genres, including Spanish cinema of the dictatorship, European art cinema, Hollywood melodrama and film noir. It also argues that Almodóvar's work is a form of social critique, his films consistently engaging with and challenging stereotypes about traditional and contemporary Spain in order to address Spain's traumatic historical past and how it continues to inform the present. Drawing on scholarship in both English and Spanish, the book will be of interest to undergraduate and postgraduate students of film studies and Hispanic studies, scholars of contemporary cinema and general readers with a passion for the films of Pedro Almodóvar.

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        Literature & Literary Studies
        December 2022

        Cowboy Hamlets and zombie Romeos

        by Kinga Földváry

      • Trusted Partner
        The Arts
        January 2019

        Joseph Losey

        by Colin Gardner

        The career of Wisconsin-born Joseph Losey spanned over four decades and several countries. A self-proclaimed Marxist and veteran of the 1930s Soviet agit-prop theater, he collaborated with Bertholt Brecht before directing noir B-pictures in Hollywood. A victim of McCarthyism, he later crossed the Atlantic to direct a series of seminal British films such as "Time Without Pity," "Eve," "The Servant," and "The Go-Between," which mark him as one of the cinema's greatest baroque stylists. His British films reflect on exile and the outsider's view of a class-bound society in crisis through a style rooted in the European art house tradition of Resnais and Godard. Gardner employs recent methodologies from cultural studies and poststructural theory, exploring and clarifying the films' uneasy tension between class and gender, and their explorations of fractured temporality.

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        Individual film directors, film-makers
        February 2017

        Julien Duvivier

        by Series edited by Robert Ingram, Ben McCann

        This book is the first ever English-language study of Julien Duvivier (1896-1967), once considered one of the world's great film filmmakers. It provides new contextual and analytical readings of his films that identify his key themes and techniques, trace patterns of continuity and change, and explore critical assessments of his work over time. His career began in the silent era and ended as the French New Wave was winding down. In between, Duvivier made over sixty films in a long and at times difficult career. He was adept at literary adaptation, biblical epic, and film noir, and this groundbreaking volume illustrates in great detail Duvivier's eclecticism, technical efficiency and visual fluency in works such as Panique (1946) and Voici le temps des assassins (1956). It will particularly appeal to scholars and students of French cinema looking for examples of a director who could straddle the realms of the popular and the auteur.

      • Trusted Partner
        September 2006

        Polar

        Gedichte

        by Albert Ostermaier, Michael Althen

        Polar ist eine Hommage an das französische Kino der sechziger und siebziger Jahre. Albert Ostermaier taucht hier, im Gedicht, die Welt in ein kaltes Licht, das den Menschen, Beziehungen und Dingen eisigscharfe Konturen verleiht. Das »kühle« französische Kino hat jedoch bei aller Schärfe immer auch von Sehnsucht gehandelt und davon, wie Gefühle verwischen, was klar vor Augen steht. Für eine gewisse Stimmung im Hollywood der Kriegs- und Nachkriegsjahre haben die Franzosen den Ausdruck film noir geprägt und die Düsternis in der Schattenwelt der Vorbilder in andere Farbtemperaturen überführt, in ein bläuliches Licht, das mit den grauen Pariser Dächern harmoniert. All ihre Filme haben sich weniger durch Erzählmuster definiert als durch ihre Atmosphäre. Albert Ostermaiers Gedichte erzählen davon, was diese Filme und ihre Geschichten mit uns anstellen, wie sie in uns weiterwirken und welche Abdrücke sie in unserem Empfinden hinterlassen. Weil sie den seltsamen Wegen nachspüren, mit denen die Bilder uns in ihren Bann schlagen.

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        Literature: history & criticism
        February 2017

        The Gothic and death

        by Series edited by Elisabeth Bronfen. Edited by Carol Davison

        The Gothic and death offers the first ever published study devoted to the subject of the Gothic and death across the centuries. It investigates how the multifarious strands of the Gothic and the concepts of death, dying, mourning and memorialisation ('the Death Question') - have intersected and been configured cross-culturally to diverse ends from the mid-eighteenth century to the present day. Drawing on recent scholarship in such fields as Gothic Studies, film theory, Women's and Gender Studies and Thanatology Studies, this interdisciplinary collection of fifteen essays by international scholars combines an attention to socio-historical and cultural contexts with a rigorous close reading of works, both classic and lesser known. This area of enquiry is considered by way of such popular and uncanny figures as corpses, ghosts, zombies and vampires, and across various cultural and literary forms such as Graveyard Poetry, Romantic poetry, Victorian literature, nineteenth-century Italian and Russian literature, Anglo-American film and television, contemporary Young Adult fiction and Bollywood film noir.

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        September 2017

        Revolution Noir

        Autoren der russischen »neuen Welle«

        by Julia Kissina, Ingolf Hoppmann, Olga Kouvchinnikova, Annelore Nitschke, Olga Radetzkaja

        Ein Mann geht durch Moskau, verirrt sich in die Welt der Engel, ohne seine Umgebung zu verlassen. Er wird ein Doppelagent der Wirklichkeit, der dem Schöpfer auf die Spur kommen will. Paracelsus und Alfred Jarry geistern durch die Texte und Franz Kafka, der noch in den dreißiger Jahren mit Frau, Sohn und Enkelkind ein glückliches, etwas ödes Leben in Prag führte, um sich eines Tages von seinem »Wiedergänger« zu verabschieden. Hundert Jahre nach den Revolutionen des Jahres 1917 lässt Julia Kissina Autoren zu Wort kommen, die zum antirealistischen Unterstrom der russischen Literatur seit den 60er Jahren gehören. Ihre Lehrer sind Gogol und Charms; die heutigen Vertreter, wie Julia Kissina selbst, häufig Doppelbegabungen: Maler, Bildhauer, Philosophen. Wie alltägliche, scheinbar langweilige Ereignisse sich in etwas Rätselhaftes verwandeln, die Normalität aufgekündigt wird, Traum und Wahn überhand nehmen – Literatur als Wunder der Wahrnehmung ist der gemeinsame Nenner der Prosastücke. Dieses Buch hat nichts zu tun mit unserer Vorstellung von der »russischen Seele«, dem slawischen Charakter, dem ewigen Wodka und überhaupt davon, wie man im Osten lebt und denkt. Es befreit uns von den Klischees, die am Sozialismus und an Dostojewski haften, und zeigt uns ein Russland ohne Putin und seine Helden – eine Gesellschaft, die längst Teil der globalen Kultur geworden ist.

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        Teaching, Language & Reference
        October 2023

        Crafting crime fiction

        by Henry Sutton

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        Film theory & criticism
        February 2007

        European Film Noir

        by Edited by Andrew Spicer

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        February 2008

        Zephyr

        Roman

        by Albert Ostermaier

        Paris 2002: Die Schauspielerin Marie Trintignant und Bertrand Cantat, Sänger der Rockband "Noir Désir", lassen sich als frisch Verliebte durch die Nächte treiben. Um sich nicht trennen zu müssen, begleitet er sie zu Dreharbeiten nach Vilnius. Sie spielt unter der Regie ihrer Mutter in einer Verfilmung des Lebens der Schriftstellerin Colette. Es kommt zu Eifersuchtsexzessen zwischen den beiden, er erschlägt sie und schläft umstandslos neben ihr ein. In einer Villa an der Côte d'Azur liegt Cathy auf dem Bett, sie scheint zu schlafen. Neben ihr Gilles, ihr Mann. Er hat den Auftrag zu einem Drehbuch über das Paar Marie-Bertrand. Gilles fällt es immer schwerer, zwischen Wirklichkeit und Fiktion zu unterscheiden, zwischen den Schnitten ins Herz und denen seines Filmscripts, er überblendet, was er wahrnimmt, mit dem, was er vor seinem inneren Kameraauge sieht. Sein Leben läuft wie ein Film an ihm vorüber. Ist er selbst auch ein Mörder, oder schreibt er sich diese Rolle nur zu? Albert Ostermaiers erster Roman ist ein faszinierendes Vexierspiel, erzählt im raschen Perspektivenwechsel, ein rasantes Gegenstück zum "Film Noir", ein dunkler Liebessong, dessen Rhythmus und Refrain den Leser in den Sog einer Geschichte ziehen.

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