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As living subjects rather than static icons, studio-era Hollywood actresses actively negotiated a balance between their public personas, film roles, and corporeal presence. The contemporary audience's engagement with the experience of these actresses unsettles the traditional model of narcissistic identification, which divides the off-screen spectator from his/her on-screen ideal. Exploring the fan's desire for a material connection to the performer - as well as the star's own dialogue between embodied experience and idealized image -Beyond the Looking Glasstraces on- and off-screen representations of narcissistic femininity in classical Hollywood through studies of stars like Greta Garbo, Ava Gardner, and Marilyn Monroe. Merging historical and theoretical concerns, with particular attention to the resonance of golden-age Hollywood in new media, this book explores the movie screen as a medium of shared experience between spectator and star.

The intersection between film stardom and politics is an understudied phenomenon of Fascist Italy, despite the fact that the Mussolini regime deemed stardom important enough to warrant sustained attention and interference. Focused on the period from the start of sound cinema to the final end of Fascism in 1945, this book examines the development of an Italian star system and evaluates its place in film production and distribution. The performances and careers of several major stars, including Isa Miranda, Vittorio De Sica, Amedeo Nazzari, and Alida Valli, are closely analyzed in terms of their relationships to the political sphere and broader commercial culture, with consideration of their fates in the aftermath of Fascism. A final chapter explores the place of the stars in popular memory and representations of the Fascist film world in postwar cinema.

Examined within their economic, cultural, and political context, the work of women Maghrebi filmmakers forms a cohesive body of work. Florence Martin examines the intersections of nation and gender in seven films, showing how directors turn around the politics of the gaze as they play with the various meanings of the Arabic term hijab (veil, curtain, screen). Martin analyzes these films on their own theoretical terms, developing the notion of \"transvergence\" to examine how Maghrebi women's cinema is flexible, playful, and transgressive in its themes, aesthetics, narratives, and modes of address. These are distinctive films that traverse multiple cultures, both borrowing from and resisting the discourses these cultures propose.

What is the work of film in the age of transnational production? To answer that question, Randall Halle focuses on the film industry of Germany, one of Europe's largest film markets and one of the world's largest film-producing nations. In the 1990s Germany experienced an extreme transition from a state-subsidized mode of film production that was free of anxious concerns about profit and audience entertainment to a mode dominated by private interest and big capital. At the same time, the European Union began actively drawing together the national markets of Germany and other European nations, sublating their individual significances into a synergistic whole. This book studies these changes broadly, but also focuses on the transformations in their particular national context. It balances film politics and film aesthetics, tracing transformations in financing along with analyses of particular films to describe the effects on the film object itself. Halle concludes that we witness currently the emergence of a new transnational aesthetic, a fundamental shift in cultural production with ramifications for communal identifications, state cohesion, and national economies.

While Indigenous media have gained increasing prominence around the world, the vibrant Aboriginal media world on the Canadian West Coast has received little scholarly attention. As the first ethnography of the Aboriginal media community in Vancouver,Sovereign Screensreveals the various social forces shaping Aboriginal media production including community media organizations and avant-garde art centers, as well as the national spaces of cultural policy and media institutions. Kristin L. Dowell uses the concept of visual sovereignty to examine the practices, forms, and meanings through which Aboriginal filmmakers tell their individual stories and those of their Aboriginal nations and the intertribal urban communities in which they work. She explores the ongoing debates within the community about what constitutes Aboriginal media, how this work intervenes in the national Canadian mediascape, and how filmmakers use technology in a wide range of genres-including experimental media-to recuperate cultural traditions and reimagine Aboriginal kinship and sociality. Analyzing the interactive relations between this social community and the media forms it produces,Sovereign Screensoffers new insights into the on-screen and off-screen impacts of Aboriginal media.

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.

The Barrandov Studios are one of the largest and oldest film studios in Europe. For more than 80 years so far, the studios have been the location of choice for over 2,500 Czech and International films. Barrandov's founding fathers, the Havel brothers Vàclav and Milo. (the grandfather and uncle of later president Vàclav Havel), built the 'Hollywood of Eastern Europe' in the 1930s. A legendary studio like this - and its story - has so far not been told to an English-speaking readership. This collection aims to correct this, presenting the studio's rich history, its esteemed directors, and their most important films.

Examining the significance of women's work in popular film genres, Genre, Authorship and Contemporary Women Filmmakers sheds light on women's contribution to genre cinema through an exploration of filmmakers like Kathryn Bigelow, Diablo Cody, Sofia Coppola and Kelly Reichard.

Cinema Wars explores the intersection of film, politics, and US culture and society through a bold critical analysis of the films, TV shows, and documentaries produced in the early 2000s Offers a thought-provoking depiction of Hollywood film as a contested terrain between conservative and liberal forcesFilms and documentaries discussed include: Black Hawk Down, TheDark Knight, Star Wars, Syriana,WALL-E, Fahrenheit 9/11 and other Michael Moore documentaries, amongst othersExplores how some films in this era supported the Bush-Cheney regime, while others criticized the administration, openly or otherwiseInvestigates Hollywood's treatment of a range of hot topics, from terrorism and environmental crisis to the Iraq war and the culture wars of the 2000sShows how Hollywood film in the 2000s brought to life a vibrant array of social protest and helped create cultural conditions to elect Barack Obama.

Re-examines contemporary Bollywood films using postmodernist film theory. Applying postmodern concepts and locating postmodern motifs in key commercial Hindi films, this innovative study reveals how Indian cinema has changed in the 21st century. Equipping readers with an alternative method of reading contemporary Indian cinema, Bollywood and Postmodernism takes Indian film studies beyond the exhausted theme of diaspora, and exposes a new decade of aesthetic experimentation and textual appropriation in mainstream Bombay cinema. A bold celebration of contemporary Bollywood texts, this book radically redefines Indian film and persuasively argues for its seriousness as a field of study in world cinema.