Bøker av Glyn Davis

Pop Cinema is the first book devoted to moving image works which engage with the central thematics and aesthetics of Pop Art. The essays in the collection focus in on the core concerns of Pop as a widespread and ideologically complex art movement, and examine the ways in which artists in various global locations have used forms of film practice outside of the mainstream to explore those preoccupations. The book's contributors also identify the ways in which dominant Pop aesthetics - flat planes of bold colour, mechanical forms of repetition, appropriation of materials from popular culture sources - were adopted, reworked, or abandoned by such filmmakers. At root, the book asks three basic questions: what shapes might a Pop form of cinema take, what materials would it engage with, and what might it have to say?

Birth is a throw of the dice. The consequences last a lifetime.We like to think of Australia as the land of the 'fair go', a land of choice and equal opportunity. But behind the facade of meritocracy lies an uncomfortable truth: much of your life is already decided by the lottery of where you are born and who you are born to. Entrenched inter-generational poverty, like the property of the wealthy, can be handed down from parent to child.With one in eight adults and one in six children living below the poverty line in Australia, Glyn Davis asks the question: If life is a game of chance, what responsibility do those who are given a head start have to look after those less fortunate?

A Global Introduction. Film Studies A Global Introduction reroutes film studies from its Euro-American focus and canon in order to introduce students to a medium that has always been global but has become differently and insistently so in the digital age.

In this powerful meditation on the need for institutional diversity, Glyn Davis argues that experimentation, innovation and resilience are the only way the public university will endure.

This book is a study of Far from Heaven, a commercially successful film that nevertheless sits rather ambiguously on the boundary between independent and mainstream cinema, operating as an alternative to 'blockbuster' fare.