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This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators¿ affective and emotional engagement with film, which can function as a moral ground for one¿s connection to others and to the world outside the self. Contributors explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films.

This volume brings together original research on religion and cinema. Contributors look beyond the film text, content, or aesthetics, instead concentrating on the cinema-related actions, strategies, and policies developed by the Catholic Church and Catholic organizations in order to influence cinema.

Through a series of detailed film case histories ranging from The Great Dictator to Hiroshima mon amour to The Lives of Others, The Aesthetics of Antifascist Film: Radical Projection explores the genesis and recurrence of antifascist aesthetics as it manifests in the WWII, Cold War and Post-Wall historical periods.

This interdisciplinary study forwards a productive pairing of Asian cinema and space, in which space is used as a discursive tool to understand Asian cinema. The variety of spaces examined includes natural geographic elements, buildings, cities, and landscapes, both urban and rural.

This comprehensive collection provides theoretical accounts of the grounds and phenomenon of film acting. Each section proposes novel ways of considering the recurring motifs in academic enquiries into film acting.

This collection examines the exchange of Asian identities at the levels of both film production and film reception amongst pan-Pacific cinemas. Topics include the reception of Hollywood films by Asian audiences, the construction of raced and gendered identity in Thai, Japanese, and Hong Kong cinemas, and pan-Pacific co-productions.

Compares and contrasts the development of cinema in Korea during the Japanese occupation (1910-1945) and US Army Military (1945-1948) periods within the larger context of cinemas in occupied territories. This project investigates key moments in Korea's cinematic history.

In this edited volume, an international ensemble of scholars looks at how the world¿s various cinemas, including Asia, Africa, Latin America, Europe, and the U.S., have variously performed, contested, and reinforced the worldwide transition to neoliberalism. Grounded in Marxist theory, the volume considers how the contradictions of capital, both as culture and commerce, have played out globally in contemporary media culture.

Since its inception, cinema has evolved into not merely a 'reflection' but an indispensable index of human experience. This title provides a comparative theorization of the representation of memory in both mainstream Hollywood and international art cinema within an increasingly transnational context of production and reception.

Through a comparative approach of theories developed on ideology and an analysis of official documents from the Vatican and the United States Department of State, this book investigates the decisive role that American production companies played in the development of the Italian film industry and their links to the Vatican.

Exploring Latin American cinema, this anthology challenges established continental and national histories and canons which often exclude exploitation cinema due to its perceived 'low' cultural status. It argues that Latin American exploitation cinema makes an important aesthetic and social contribution to the larger body of Latin American cinema.

Identifies a trend in post-Production Code films that deal with lesbian content. This book demonstrates how the standard repertoire of visual techniques and spatial devices (the elements of mise-en-scene, favoured locations and sets, classical systems of editing, and the implied story world itself) are used to scaffold female sexual visibility.

This book is a study in film and philosophy that explores the intersection of global post-fascist cinema, ethics and justice, and screen bodies.

Postcolonial Film: History, Empire, Resistance examines films of the later twentieth and early twenty-first centuries from postcolonial countries around the globe.

Cinematic products in the twenty-first century increasingly emerge from, engage with, and are consumed in cross-cultural settings. This volume contends that "crossover cinema" is the most apt contemporary description for those aspects of contemporary cinema on which it focuses. Each of the three sections of the volume considers crossover film from one of three perspectives: production, the texts themselves, and distribution and consumption.