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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.

Hollywood Remembrance and American War addresses the synergy between Hollywood war films and American forms of war remembrance. This book develops a theoretical understanding of how Hollywood war films, as rhetorical sites of remembering and memory, reflect, replicate and resist American modes of remembrance.

This volume presents a new definition of the field of Iranian film studies, one that engages global media flows, transmedia interaction, and a heterogeneous Iranian national cinema.

As a rapidly aging continent, Europe increasingly depends on the successful integration of migrants. Unfortunately, contemporary political and media discourses observe and frequently also support the development of nationalist, eurosceptic and xenophobic reactions to immigration and growing multiethnicity. Confronting this trend, European cinema has developed and disseminated new transcultural and postcolonial alternatives that might help to improve integration and community cohesion in Europe, and this book investigates these alternatives in order to identify examples of good practices that can enhance European stability. While the cinematic spectrum is as wide and open as most notions of Europeanness, the films examined share a fundamental interest in the Other. In this qualitative film analysis approach, particular consideration is given to British, French, German, and Spanish productions, and a comparison of multiethnic conviviality in Chicano cinema.

This book examines the ways in which the house appears in films and the modes by which it moves beyond being merely a backdrop for action. Specifically, it explores the ways that domestic spaces carry inherent connotations that filmmakers exploit to enhance meanings and pleasures within film.

This volume investigates the Western film genre's impact, migrations, and reconfigurations in the Global South.

The contention of Film and the American Presidency is that over the twentieth century the cinema has been a silent partner in setting the parameters of what we might call the presidential imaginary. This volume surveys the partnership in its longevity, placing stress on especially iconic presidents such as Lincoln and FDR. The contributions to this collection probe the rich interactions between these high institutions of culture and politics¿Hollywood and the presidency¿and argue that not only did Hollywood acting become an idiom for presidential style, but that Hollywood early on understood its own identity through the presidency¿s peculiar mix of national epic and unified protagonist.

This book investigates film's complex role in representing ecological traumas. Contributors to this volume engage with eco-trauma cinema in its three general forms: accounts of people who are traumatized by the natural world, narratives that represent people or social processes which traumatize the environment or its species, and stories that depict the aftermath of ecological catastrophe.

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.