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The language of film
\"Becoming an effective filmmaker involves being deliberately mindful of the structures and conventions that allow film to communicate meaning to a global audience. The Language of Film explores complex topics such as semiotics, narrative, intertextuality, ideology and the aesthetics of film in a clear and straightforward style, enabling you to apply these ideas and techniques to your own analysis or film-making. With full-colour film stills, in-depth case studies and a wide range of practical exercises, The Language of Film will help you to make the transition from consumer to practitioner - from someone who just responds to the language of film, to someone who actively uses it. In the second edition, a new chapter examines how sound contributes to narrative and space to tell stories, create imaginary worlds and shape the realist (and often non-realist) effect of cinema. Along with two case studies from the first edition, Seven (dir: David Fincher) and Citizen Kane (dir: Orson Welles), the second edition also includes five new case studies: The Secret Life of Walter Mitty (dir: Ben Stiller), Dead Man's Shoes (dir: Shane Meadows), Hero (dir: Yimou Zhang), Berberian Sound Studio (d: Peter Strickland) and Psycho (d: Alfred Hitchcock)\"-- Provided by publisher.
Book
Godzilla at 70: Time for Kaijū Studies
This article contextualises the history of kaijū scholarship and looks particularly at the swell of publishing that has emerged in the last decade. It argues that the release of a series of new Godzilla films has led to a greater focus on the kaijū film, but that there is recurrence of critical themes that have persisted throughout scholarship on giant monster movies since the 1960s. This provides a literature review to understand how kaijū media has been critiqued, defined and challenged in response to the near three-quarter century history of kaijū cinema to consider if studies of the kaijū media provide the impetus to look at the kaijū as deserving of its own field of study. If zombie studies and vampire studies can occupy their own emerging fields of study, why not the kaijū? If the figure of the kaijū asks the biggest questions of our cultures, then do the giant monsters not deserve their own field? But, if this is an emerging field of study, the article poses, it needs to be more than kaijū film studies.
Journal Article
Partners in suspense : critical essays on Bernard Herrmann and Alfred Hitchcock
This volume of essays explores the tense relationship between Alfred Hitchcock and Bernard Herrmann, featuring new perspectives on their collaboration. Featuring essays by leading scholars of Hitchcock's work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb and Jack Sullivan, the collection examines the working relationship between the pair and the contribution that Herrmann's work brings to Hitchcock's idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the essays explore approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann's work with Hitchcock brought to this body of films, examining the significance, meanings, histories and enduring legacies of one of film history's most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the book explores the ways in which film directors and composers collaborate, how this collaboration is experienced in the film text, and the ways in which such partnerships inspire later work.--Publisher description.
BOOK
Partners in suspense
This volume of spellbinding essays explores the tense relationship between Alfred Hitchcock and Bernard Herrmann, providing new perspectives on their collaboration. Featuring chapters by leading scholars of Hitchcock's work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb and Jack Sullivan, the collection examines the working relationship between the pair and the contribution that Herrmann's work brings to Hitchcock's idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the essays explore approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann's work with Hitchcock brought to this body of films, examining the significance, meanings, histories and enduring legacies of one of film history's most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the book explores the ways in which film directors and composers collaborate, how this collaboration is experienced in the film text, and the ways in which such partnerships inspire later work.
eBook
How could you possibly be a Hitchcocko-Herrmannian?
The title of this chapter refers quite explicitly to Andre Bazin’s 1955 Cahiers du cinéma editorial addressing the criticisms of their issue on Hitchcock, the matter of ‘a certain amount of fuss’ (1996: 32). Bazin addresses some of the reproaches Cahiers experienced about the issue, from those including Lindsay Anderson at Sight and Sound, as well as the disputes between him and the ‘young Turks’ (1996: 33) at the magazine. The critiques, he states, were ‘fertile’:
Where criticism is concerned I do not really believe in objective truths or, to put it more precisely, I would rather be forced to
Book Chapter
Hal Hartley and the Re-Presentation of Repetition
Given what we might see as a serious artistic goal and vision in Hartley's intentions, as well as in his work, it is surprising that academic interest in Hartley's work has been scant (Deer; Anderson; Wise; Wood), or has situated his work within the broader sphere of independent cinema, where he remains a significant footnote (Andrew 279-312; King passim; Levy 191-197; Merritt 324, 361, 421; Pierson passim), despite a notable cult following. Kawin 5) By extension, the aesthetic experience of repetition in narrative forms, Kawin contends, plays a constructive role by marking the passage, or negation, of time, such as the deceptive \"perpetual present\" of Last Year at Marienbad (Alain Resnais, 1961) (89) or \"the germ of the nature of eternity\" in The Mummy's, (Karl Freund, 1932) undead characters (70. [...] as the word \"fault\" becomes meaningless as Jim batters Matthew into submission with its repetition, Matthew's repeated use of the phrase \"It's my fault\" gains significance.
Journal Article
Introduction
For a decade from 1955, Alfred Hitchcock worked almost exclusively with one composer: Bernard Herrmann. From The Trouble with Harry (1955) to the bitter spat surrounding Torn Curtain (1966), the partnership gave us some of cinema’s most memorable musical moments, taught us to stay out of the shower, away from heights and never to spend time in corn fields. Consequently, fascination with their work and relationship endures fifty years later. This book brings together new work and new perspectives on the relationship between Hitchcock and Herrmann. Featuring chapters by leading scholars of Hitchcock’s work, the volume examines the working relationship
Book Chapter
Choose Your Label Wisely: Water-Soluble Fluorophores Often Interact with Lipid Bilayers
Water-soluble organic fluorophores are widely used as labels in biological systems. However, in many cases these fluorophores can interact strongly with lipid bilayers, influencing the interaction of the target with the bilayer and/or leading to misleading fluorescent signals. Here, we quantify the interaction of 32 common water-soluble dyes with model lipid bilayers to serve as an additional criterion when selecting a dye label.
Journal Article
Man who knows where bodies are
The most infamous of these involved Charles Abbott, a non- executive director of HIH and long-time colleague of the insurer's final chief executive, Randolph Wein. Abbott's last cheque was cleared the evening before HIH folded, when Howard sent a junior accounts clerk across the Sydney Harbour Bridge by train, after the banks had closed, to have it processed. Howard denied at the commission that a new top-of-the-range $118,000 fern-green BMW convertible, of which he took delivery after Cooper introduced him to contacts in the motor trade, was in fact a bribe for channelling millions of HIH dollars to Cooper. Howard said he had decided to buy the car because he was having a \"mid-life crisis\". * Former HIH director and FAI chief executive Rodney Adler faces five criminal charges for buying 3 million HIH shares using HIH money. He challenged the charges this week.
Newspaper Article