Bøker i Wisconsin studies in film-serien

Analyzes Stanley Kubrick's films from a variety of perspectives. This is a study of one of the controversial filmmakers of the twentieth century. It ends with three viewpoints on Kubrick's final film, ""Eyes Wide Shut"", placing it in the contexts of film history, the history and theory of psychoanalysis, and the sociology of sex and power.

A study of a decade's native Russian film production through the 1917 Revolution. Showing how these films appealed to a new middle class, the author examines the organization and evolution of the industry and looks at genres, motifs and themes in 65 of the most important surviving films.

John Williams has penned some of the most unforgettable film scores - while netting more than fifty Academy Award nominations. This updated edition of Emilio Audissino's groundbreaking volume takes stock of Williams's creative process and achievements, including the most recent sequels in the film franchises that made him famous.

Examining the vanguard of New Turkish Cinema, Laurence Raw shows how these films reveal the effects of profound socio economic change on ordinary people in contemporary Turkey. Raw interleaves his film discussion with thoughtful commentary on nationalism, gender, personal identity, and cultural pluralism.

Mai Elizabeth Zetterling (1925-94) is among the most exceptional postwar female filmmakers. Critics have compared her work to that of Bergman, Bunuel, and Fellini, but Zetterling had her own distinct style. Mariah Larsson provides a lively and authoritative take on Zetterling's legacy and complicated position within film and women's history.

From the late 1930s to the early twenty-first century, European and American filmmakers have displayed an enduring fascination with Nazi leaders, rituals, and symbols, making scores of films from Confessions of a Nazi Spy (1939) and Watch on the Rhine (1943) through Des Teufels General (The Devil's General, 1955) and Pasqualino settebellezze (Seven Beauties, 1975), up to Der Untergang (Downfall, 2004), Inglourious Basterds (2009), and beyond. Probing the emotional sources and effects of this fascination, Sabine Hake looks at the historical relationship between film and fascism and its far-reaching implications for mass culture, media society, and political life. In confronting the specter and spectacle of fascist power, these films not only depict historical figures and events but also demand emotional responses from their audiences, infusing the abstract ideals of democracy, liberalism, and pluralism with new meaning and relevance. Hake underscores her argument with a comprehensive discussion of films, including perspectives on production history, film authorship, reception history, and questions of performance, spectatorship, and intertextuality. Chapters focus on the Hollywood anti-Nazi films of the 1940s, the West German anti-Nazi films of the 1950s, the East German anti-fascist films of the 1960s, the Italian "Naziploitation" films of the 1970s, and issues related to fascist aesthetics, the ethics of resistance, and questions of historicization in films of the 1980s-2000s from the United States and numerous European countries.

Reveals the author's experience of Hollywood in its golden days and tells the stories of the stars who appeared in his films, including Natalie Wood, John Wayne, Peter Sellers, Sidney Poitier, Steve McQueen, Marilyn Monroe, and many others.