Bøker i Traditions in American Cinema-serien

Focusing on the 1980s until the present, particularly on the films by writer-directors like Jim Jarmusch, Noah Baumbach and Richard Linklater, this book demonstrates dialogue's ability to engage audiences and bind together the narrative, aesthetic and performative elements of selected cinema.

In the first book-length study of Romanticism in relation to American film, Michelle Devereaux takes established theories of contemporary American independent cinema as a point of entry, exploring the underlying philosophical and aesthetic Romantic connections between a selection of seven films from four popular filmmakers: Wes Anderson, Sofia Coppola, Spike Jonze and Charlie Kaufman. Primarily dealing with questions of identity, imagination and the relation between self and world, these films also emphasise the anxieties of our own time: the nostalgia for an imaginary past, and the fear of an uncertain future.

In Vampires, Race, and Transnational Hollywoods, Dale Hudson explores the movement of transnational Hollywood's vampires, between low-budget quickies and high-budget franchises, as it appropriates visual styles from German, Mexican and Hong Kong cinemas and off-shores to Canada, Philippines, and South Africa.

Drawing on extensive archival research, In Secrecy's Shadow explores the revolution in the relationship between Hollywood and the secret state, from unwavering trust and cooperation to extreme scepticism and paranoia.

Using newly unearthed primary sources, this ground-breaking book examines the bitter and little known struggle in Hollywood and Washington D.C. during 1933 to create a National Recovery Administration (NRA) code of practice for the motion picture industry.

Vampires, Race, and Transnational Hollywoods' explores the movement of transnational Hollywood's vampires, between low-budget quickies and high-budget franchises, as it appropriates visual styles from German, Mexican and Hong Kong cinemas and off-shores to Canada, Philippines, and South Africa.

With eight contributions, this volume sheds new light on text, knowledge, and wonder in early modern France, which were more fundamentally intertwined than their modern counterparts.

With case studies of the Cold War comedy, the 'rogue cop' film, the brainwashing thriller and the urban romances, Cold War Film Genres explores these myriad productions, redefining American cinematic history with a more inclusive view of the types of films that post-war audiences actually enjoyed, and that the studios provided for them.

With case studies of the Cold War comedy, the 'rogue cop' film, the brainwashing thriller and the urban romances, 'Cold War Film Genres' explores these myriad productions, redefining American cinematic history with a more inclusive view of the types of films that post-war audiences actually enjoyed, and that the studios provided for them.

The Style of Sleaze' reasons that the aesthetic and thematic approach of the key texts within three distinct exploitation demarcations blaxploitation, horror and sexploitation indicate a concurrent evolution of filmmaking that could be seen as an identifiable cinematic movement.

Offers an exploration of the impact of 9/11 and the 'War on Terror' on American cinema. This book charts the evolution of the impact of 9/11 on Hollywood film: draws on a range of contemporary films including Black Hawk Down (2001), Batman Begins (2005), United 93 (2006) and Olympus Has Fallen (2013).

American Postfeminist Cinema is the first book to examine the symbiotic relationship between heterosexual romance and postfeminist culture.

Examines the content and practices in contemporary American Indian feature filmmaking.

The Franchise Era: Managing Media in the Digital EconomyEdited by James Fleury, Bryan Hikari Hartzheim and Stephen MamberA collection of essays that examine the management strategies of franchises across multiple mediaAs Hollywood shifts towards the digital era, the role of the media franchise has become more prominent. This edited collection, from a range of international scholars, argues that the franchise is now an integral element of American media culture. As such, the collection explores the production, distribution and marketing of franchises as a historical form of media-making - analysing the complex industrial practice of managing franchises across interconnected online platforms.Examining how traditional media incumbents like studios and networks have responded to the rise of new entrants from the technology sector (such as Facebook, Apple, Amazon, Netflix and Google), the authors take a critical look at the way new and old industrial logics collide in an increasingly fragmented and consolidated mediascape.James Fleury is a PhD candidate in Cinema and Media Studies at UCLA.Bryan Hikari Hartzheim is Assistant Professor in the School of International Liberal Studies at Waseda University, Japan.Stephen Mamber is a Research Professor in the Department of Film, Television and Digital Media at UCLA.Cover image: The Avengers (2012) Directed by Joss Whedon © Walt Disney Studios Motion Pictures/PhotofestCover design:[EUP logo]edinburghuniversitypress.comISBN 978-1-4744-1922-2Barcode

Using newly unearthed primary sources, this ground-breaking book examines the bitter and little known struggle in Hollywood and Washington D.C. during 1933 to create a National Recovery Administration (NRA) code of practice for the motion picture industry.

'The Other Hollywood Renaissance is an extraordinary volume which testifies to the incredible richness of 1970s cinema. These 23 concise, eloquent and keenly insightful auteurist essays, expertly assembled, recover and re-examine the considerable achievements of a wide array of directors, ranging from the highly esteemed and well-known (Sidney Lumet, Mike Nichols and Terrence Malick) to the highly neglected (John Boorman, Elaine May and Alan Rudolph). Like the best critics, these authors compel us to watch the films anew with a fresh appreciation of their directors' work.'Matthew Bernstein, Emory CollegeIn the late 1960s, the collapse of the classic Hollywood studio system led in part, and for less than a decade, to a production trend heavily influenced by the international art cinema. Reflecting a new self-consciousness in the US about the national film patrimony, this period is known as the Hollywood Renaissance. However, critical study of the period is generally associated with its so-called principal auteurs, slighting a number of established and emerging directors who were responsible for many of the era's most innovative and artistically successful releases.With contributions from leading film scholars, this book provides a revisionist account of this creative resurgence by discussing and memorializing twenty-four directors of note who have not yet been given a proper place in the larger history of the period. Including filmmakers such as Hal Ashby, John Frankenheimer, Mike Nichols, and Joan Micklin Silver, this more expansive approach to the auteurism of the late 1960s and 1970s seems not only appropriate but pressing - a necessary element of the re-evaluation of 'Hollywood' with which cinema studies has been preoccupied under the challenges posed by the emergence and flourishing of new media.Dominic Lennard is a Teaching Fellow in the Pre-Degree Programs at the University of Tasmania. He is the author of Bad Seeds and Holy Terrors: The Child Villains of Horror Film (2014) and Brute Force: Animal Horror Movies (2019).R. Barton Palmer is the Calhoun Lemon Professor emeritus at Clemson University, where he founded the World Cinema program. He is the author or editor of more than fifty books on film and literary subjects from various academic presses, including, both with Homer Pettey, Film Noir and International Film Noir (EUP, 2016).Murray Pomerance is an independent scholar living in Toronto. He is the author of Virtuoso: Screen Performance and the Actor's Magic (2019), A Dream of Hitchcock (2019), and Cinema, If You Please (EUP, 2018), amongst many others.Cover image: Serpico (1973) Directed by Sidney Lumet Shown: Al Pacino © Paramount Pictures/PhotofestCover design:[EUP logo]edinburghuniversitypress.comISBN 978-1-4744-4264-0Barcode

Examining how traditional media incumbents like studios and networks have responded to the rise of new entrants from the technology sector (such as Facebook, Apple, Amazon, Netflix and Google), the authors take a critical look at the way new and old industrial logics collide in an increasingly fragmented and consolidated mediascape.