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In the face of renewed competition from Hollywood since the early 1980s and the challenges posed to Europe's national cinemas by the fall of the Wall in 1989, independent filmmaking in Europe has begun to re-invent itself. European Cinema: Face to Face with Hollywood re-assesses the different debates and presents a broader framework for understanding the forces at work since the 1960s. These include the interface of \"world cinema\" and the rise of Asian cinemas, the importance of the international film festival circuit, the role of television, as well as the changing aesthetics of auteur cinema. New audiences have different allegiances, and new technologies enable networks to reshape identities, but European cinema still has an important function in setting critical and creative agendas, even as its economic and institutional bases are in transition. Onder invloed van de rivaliteit met Hollywood en de val van de muur in 1989 vond er in de jaren '90 in veel West-Europese landen een levendig debat plaats over de toekomst van de nationale filmtradities. Van het bestaan van zich onderscheidende 'nationale' stijlen, zoals bijvoorbeeld neo-realisme, zou niet langer kunnen worden uitgegaan. Film zou een benepen kunstvorm geworden zijn, die redding zoekt in het bewaren van de 'nationale' erfenis of hoopt op artistieke vernieuwing van televisie en door de overheid gesubsidieerde prestigeprojecten. In European Cinema blikt Thomas Elsaesser terug op het debat en geeft een genuanceerder beeld van verschillende factoren die sinds de jaren zestig een rol speelden. Er is o.m. aandacht voor de raakvlakken met de 'world cinema' en de opkomst van de Aziatische film, de invloed van het internationale film festival circuit, de rol van televisie en de veranderende esthetiek in auteur-cinema. Nieuwe toeschouwers hebben andere voorkeuren, en nieuwe technologieën bieden de mogelijkheid om bestaande identiteiten te hervormen, maar de Europese cinema heeft nog steeds een belangrijke functie in het vaststellen van kritische en creatieve agenda's, ook al is haar economische en institutionele basis in beweging.

Our understanding of history is often mediated by popular culture, and television series set in the past have provided some of our most indelible images of previous times. Yet such historical television programs always reveal just as much about the era in which they are produced as the era in which they are set; there are few more quintessentially late-90s shows than That '70s Show, for example.  From Memory to History takes readers on a journey through over fifty years of historical dramas and sitcoms that were set in earlier decades of the twentieth century. Along the way, it explores how comedies like M*A*S*H and Hogan's Heroes offered veiled commentary on the Vietnam War, how dramas ranging like Mad Men echoed current economic concerns, and how The Americans and Halt and Catch Fire used the Cold War and the rise of the internet to reflect upon the present day. Cultural critic Jim Cullen is lively, informative, and incisive, and this book will help readers look at past times, present times, and prime time in a new light.

OSTRANENIE (\"making strange\") has become one of the central concepts of modern artistic practice. Coined by Viktor Shklovsky, ostranenie has come to resonate deeply in Film Studies, where it entered into dialogue with the Brechtian technique of \"Verfremdung,\" the Freudian concept of the uncanny and Derrida's \"différance.\" Reread within the context of early cinema's estranging impact on audiences, Shklovsky's \"Art as Technique\" proves to be highly relevant for Film, Media, and Art Studies today. Striking, provocative and incisive, the essays by distinguished international fi lm scholars in this volume explore the range and diversity of a concept that continues to provoke theoretical inquiry. 'This remarkable collection of essays and interviews explores the centrality of the concept of ostranenie (\"making strange\") to cinema, the avant-garde, media and modernity from a range of perspectives: historical, theoretical, cognitive and psychoanalytic. Modernist ostranenie was about the transformation of representation and perception at a time when fi lm was new: the outstanding essays collected here open up this historical moment and reveal the continuing significance of the concept, for culture and for human cognition.'

Twenty years ago, Tom Gunning and André Gaudreault introduced the concept of attraction to define the quintessence of the earliest films made between 1895 and 1906. As \"cinema of attractions\" this concept has be come widely adopted, even outside the field of early cinema. Ranging from the films of the Lumière brothers to The Matrix by Andy and Larry Wachowski, from trains rushing into the audience to bullet time effects, the \"cinema of attractions\" is a cinema that shocks, astonishes and directly addresses the film spectator. This anthology traces the history of the \"cinema of attractions,\" reconstructs its conception and questions its attractiveness and usefulness for both pre-classical and post-clas sical cinema. With contributions by Christa Blümlinger, Warren Buckland, Scott Bukatman, Donald Crafton, Nicolas Dulac, Thomas Elsaes ser, André Gaudreault, Laurent Guido, Tom Gunning, Malte Hagener, Pierre-Emmanuel Jaques, Charlie Keil, Frank Kessler, Germain Lacasse, Alison McMahan, Charles Musser, Viva Paci, Eivind Røssaak, Vivian Sobchack, Wanda Strauven, Dick Tomasovic.

This book interrogates trends in training and employment of people with disabilities in the media through an analysis of people with disabilities' self-representation in media employment. Improving disability representations in the media is vital to improving the social position of people with disability, and including people with lived experience of disability is integral to this process. While the media industry has changed significantly as a result of digital and participatory media, discriminatory attitudes around fear and pity continue to impact whether people with disability find work in the media. The book demonstrates no significant changes in attitudes towards employing disabled media workers since the 1990s when the last major research into this topic took place. By focusing on the employment of people with disability in media industries, Katie Ellis addresses a neglected area of media diversity, appealing to researchers in media and cultural studies as well as critical disability studies.

This exciting collection of unpublished essays on Ernst Lubitsch addresses multiple gaps in scholarly and critical engagement with the director. His understudied early German films shed light on Jewish culture, on the relation of comedy to gender and the influence of theatre on his filmmaking. The popular historical epics brought Lubitsch an invitation to Hollywood in 1922. There, Lubitsch helped develop the film musical and notably contributed to the genre of Hollywood romantic comedy. The well-known scholars-film historians, archivists, and theorists-whose essays appear in this volume expand our knowledge of the set designers, actors, directors and members of the emigré community who contributed to Lubitsch's vibrant films. An emphasis on the role of material objects opens up a new dimension of critical engagement with the director. Light is shed on neglected films, and the antifascist dimension of his oeuvre brings his political stance clearly to light. As these essays make clear, Lubtisch's cinema is elusive and deserving of our close attention.

This book examines the aesthetic qualities of particular Chinese-language films and the rich artistic traditions from which they spring.It brings together leading experts in the field, and encompasses detailed and wide-ranging case studies of films such as Hero , House of Flying Daggers , Spring in a Small Town , 24 City , and The Grandmaster.

This book combines compelling analyses of contemporary images of women and their narratives with insightful reflections and interviews on the developments and differentiation in the history, theory, and practice of women and film and in the larger field of media studies.