Access your Project MUSE content using one of the login options below Close(X)
Browse Results For:
Movies in the Era of Transformation
They are shot on high-definition digital cameras—with computer-generated effects added in postproduction—and transmitted to theaters, websites, and video-on-demand networks worldwide. They are viewed on laptop, iPod, and cell phone screens. They are movies in the 21st century—the product of digital technologies that have revolutionized media production, content distribution, and the experience of moviegoing itself.
21st-Century Hollywood introduces readers to these global transformations and describes the decisive roles that Hollywood is playing in determining the digital future for world cinema. It offers clear, concise explanations of a major paradigm shift that continues to reshape our relationship to the moving image. Filled with numerous detailed examples, the book will both educate and entertain film students and movie fans alike.
The History of Modern Stereoscopic Cinema
In 2009, Avatar, a 3-D movie directed by James Cameron, became the most successful motion picture of all time, a technological breakthrough that has grossed more than $2.5 billion worldwide. Its seamless computer-generated imagery and live action stereo photography effectively defined the importance of 3-D to the future of cinema, as well as all other currently evolving digital displays. Though stereoscopic cinema began in the early nineteenth century and exploded in the 1950s in Hollywood, its present status as an enduring genre was confirmed by Avatar's success.
3-D Revolution: The History of Modern Stereoscopic Cinema traces the rise of modern 3-D technology from Arch Oboler's Bwana Devil (1952), which launched the 50s 3-D boom in Hollywood, to the rapidly-modernizing 3-D industry today. Ray Zone takes a comprehensive approach that not only examines the technology of the films, but also investigates the business, culture, and art of their production. Influencing new generations of filmmakers for decades, the evolution of 3-D cinema technology continues to fill our theaters with summer blockbusters and holiday megahits.
WHA Radio and the Wisconsin Idea
These words crackled in the headphones of crystal sets around the country in 1921 as the University of Wisconsin radio station 9XM began its regular schedule of voice broadcasts. Randall Davidson provides the first comprehensive history of the University of Wisconsin radio station, WHA; affiliated state-owned station, WLBL; and the post-World War II FM stations that are the backbone of the network now known as Wisconsin Public Radio. 9XM Talking describes how, with homemade equipment and ideas developed from scratch, 9XM endured many struggles and became a tangible example of "the Wisconsin Idea," bringing the educational riches of the university to all the state's residents. From the beginning, those involved with the radio station felt it should provide a service for the practical use of Wisconsin citizens.
The book's informative chapters cover the programs that allowed the medium of radio to benefit farmers and homemakers, to bring world-class educators into isolated rural schoolrooms, and to teach people all over Wisconsin everything from literature to history to touch-typing, long before anyone came up with the term "distance learning." Davidson concludes by discussing the claim that WHA has to the title "Oldest Station in the Nation." This groundbreaking book is based on archival materials dating back to the 1900s and includes dozens of historic photos and illustrations, many of which have never been published before.
Winner, Book Award of Merit for best Wisconsin history book, Wisconsin Historical Society
Abraham Polonsky (1910-1999), screenwriter and filmmaker of the mid-twentieth-century Left, recognized his writerly mission to reveal the aspirations of his characters in a material society structured to undermine their hopes. In the process, he ennobled their struggle. His auspicious beginning in Hollywood reached a zenith with his Oscar-nominated screenplay for Robert Rossen's boxing noir, Body and Soul (1947), and his inaugural film as writer and director, Force of Evil (1948), before he was blacklisted during the McCarthy witch hunt.
Polonsky envisioned cinema as a modern artist. His aesthetic appreciation for each technical component of the screen aroused him to create voiceovers of urban cadences--poetic monologues spoken by the city's everyman, embodied by the actor who played his heroes best, John Garfield. His use of David Raksin's score in Force of Evil, against the backdrop of the grandeur of New York City's landscape and the conflict between the brothers Joe and Leo Morse, elevated film noir into classical family tragedy.
Like Garfield, Polonsky faced persecution and an aborted career during the blacklist. But unlike Garfield, Polonsky survived to resume his career in Hollywood during the ferment of the late sixties. Then his vision of a changing society found allegorical expression in Tell Them Willie Boy Is Here, his impressive anti-Western showing the destruction of the Paiute rebel outsider, Willie Boy, and cementing Polonsky as a moral voice in cinema.
Movie Stars of the 1980s
Acting for America focuses on the way film icons have engaged in and defined some major issues of cultural and social concern to America during the 1980s. Scholars employing a variety of useful approaches explore how these movie stars' films speak to an increased audience awareness of advances in feminism, new ideas about masculinity, and the complex political atmosphere in the Age of Reagan. The essays demonstrate the range of these stars' contributions to such conversations in a variety of films, including blockbusters and major genres.
Technology, Operation, and Experiences
As you read this, your computer is in jeopardy of being hacked and your identity being stolen. Read this book to protect yourselves from this threat.The world's foremost cyber security experts, from Ruby Lee, Ph.D., the Forrest G. Hamrick professor of engineering and Director of the Princeton Architecture Laboratory for Multimedia and Security (PALMS) at Princeton University; to Nick Mankovich, Chief Information Security Officer of Royal Philips Electronics; to FBI Director Robert S. Mueller III; to Special Assistant to the President Howard A. Schmidt, share critical practical knowledge on how the cyberspace ecosystem is structured, how it functions, and what we can do to protect it and ourselves fromattack and exploitation.The proliferation of social networking and advancement of information technology provide endless benefits in our living and working environments. However, these benefits also bring horrors in various forms of cyber threats andexploitations. Advances in Cyber Security collects the wisdom of cyber security professionals and practitioners from government, academia, and industry across national and international boundaries to provide ways and means to secure and sustain the cyberspace ecosystem. Readers are given a first-hand look at critical intelligence on cybercrime and security--including details of real-life operations. The vast, useful knowledge and experience shared in this essential new volume enables cyber citizens and cyber professionals alike to conceive novel ideasand construct feasible and practical solutions for defending against all kinds of adversaries and attacks.Among the many important topics covered in this collection are building a secure cyberspace ecosystem; public-private partnership to secure cyberspace; operation and law enforcement to protect our cyber citizens and to safeguard our cyber infrastructure; and strategy and policy issues to secure and sustain our cyber ecosystem.
In this timely critical introduction to the representation of Afghanistan in film, Mark Graham examines the often surprising combination of propaganda and poetry in films made in Hollywood and the East. Through the lenses of postcolonial theory and historical reassessment, Graham analyzes what these films say about Afghanistan, Islam, and the West and argues that they are integral tools for forming discourse on Afghanistan, a means for understanding and avoiding past mistakes, and symbols of the country's shaky but promising future. Thoughtfully addressing many of the misperceptions about Afghanistan perpetuated in the West, Afghanistan in the Cinema incorporates incisive analysis of the market factors, funding sources, and political agendas that have shaped the films. _x000B__x000B_The book considers a range of films, beginning with the 1970s epics The Man Who Would Become King and The Horsemen and following the shifts in representation of the Muslim world during the Russian War in films such as The Beast and Rambo III. Graham then moves on to Taliban-era films such as Kandahar, Osama, and Ellipsis, the first Afghan film directed by a woman. Lastly, the book discusses imperialist nostalgia in films such as Charlie Wilson's War and destabilizing visions represented in contemporary works such as The Kite Runner. _x000B_
The Struggle for Visibility, 1900--1960
Nine actresses, from Madame Sul-Te-Wan in Birth of a Nation (1915) to Ethel Waters in Member of the Wedding (1952), are profiled in African American Actresses. Charlene Regester poses questions about prevailing racial politics, on-screen and off-screen identities, and black stardom and white stardom. She reveals how these women fought for their roles as well as what they compromised (or didn't compromise). Regester repositions these actresses to highlight their contributions to cinema in the first half of the 20th century, taking an informed theoretical, historical, and critical approach.
A Centenary of Wildlife Filming in Kenya
Jean Hartley, born in Kenya, is acknowledged as being the first to legitimise ìfixingî for wildlife film crews. Over the last 25 years, she has worked on over a thousand films, the vast majority being about wildlife and nature. She features five of the great film makers who all started their careers in Kenya in the1950s, legends whom she is proud to call personal friends. Watching all of their films, and many more, she became fascinated by the history of film making in Kenya and determined to find out when it all started. In this insightful book, she traces the roots of wildlife film back a hundred years, drawing on accounts of the original film makers and the professional hunters who guided those early safaris. She tracks the changes from those grainy, speeded up, silent films through to the technologically perfect High Definition and 3D films that are being made today.
Influence, Imitation, and Intertextuality
Alfred Hitchcock is arguably the most famous director to have ever made a film. Almost single-handedly he turned the suspense thriller into one of the most popular film genres of all time, while his Psycho updated the horror film and inspired two generations of directors to imitate and adapt this most Hitchcockian of movies. Yet while much scholarly and popular attention has focused on the director’s oeuvre, until now there has been no extensive study of how Alfred Hitchcock’s films and methods have affected and transformed the history of the film medium. In this book, thirteen original essays by leading film scholars reveal the richness and variety of Alfred Hitchcock’s legacy as they trace his shaping influence on particular films, filmmakers, genres, and even on film criticism. Some essays concentrate on films that imitate Hitchcock in diverse ways, including the movies of Brian de Palma and thrillers such as True Lies, The Silence of the Lambs, and Dead Again. Other essays look at genres that have been influenced by Hitchcock’s work, including the 1970s paranoid thriller, the Italian giallo film, and the post-Psycho horror film. The remaining essays investigate developments within film culture and academic film study, including the enthusiasm of French New Wave filmmakers for Hitchcock’s work, his influence on the filmic representation of violence in the post-studio Hollywood era, and the ways in which his films have become central texts for film theorists.