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Film, Theater, and Performing Arts > Film and Media Studies

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All about Almodóvar Cover

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All about Almodóvar

A Passion for Cinema

Brad Epps

One of world cinema’s most exciting filmmakers, Pedro Almodóvar has been delighting, provoking, arousing, shocking, and—above all—entertaining audiences around the globe since he first burst on the international film scene in the early 1980s.

All about Almodóvar
offers new perspectives on the filmmaker’s artistic vision and cinematic preoccupations, influences, and techniques. Through overviews of his oeuvre and in-depth analyses of specific films, the essays here explore a diverse range of subjects: Almodóvar’s nuanced use of television and music in his films; his reworkings of traditional film genres such as comedy, horror, and film noir; his penchant for melodrama and its relationship to melancholy, violence, and coincidence; his intricate questioning of sexual and national identities; and his increasingly sophisticated inquiries into visuality and its limits. 

Closing with Almodóvar’s own diary account of the making of Volver and featuring never-before-seen photographs from El Deseo production studio, All about Almodóvar both reflects and illuminates its subject’s dazzling eclecticism.

Contributors: Mark Allinson, U of Leicester; Pedro Almodóvar; Isolina Ballesteros, Baruch College; Leo Bersani, UC Berkeley; Marvin D’Lugo, Clark U; Ulysse Dutoit, UC Berkeley; Peter William Evans, Queen Mary U of London; Víctor Fuentes, UC Santa Barbara; Marsha Kinder, USC; Steven Marsh, U of Illinois, Chicago; Andy Medhurst, U of Sussex; Ignacio Olivia, Universidad Castilla–La Mancha, Cuenca; Paul Julian Smith, U of Cambridge; Kathleen M. Vernon, SUNY Stony Brook; Linda Williams, UC Berkeley; Francisco A. Zurián, U Carlos III, Madrid.

All-Stars and Movie Stars Cover

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All-Stars and Movie Stars

Sports in Film and History

edited by Ron Briley, Michael K. Schoenecke, and Deborah A. Carmichael

Sports films are popular forms of entertainment around the world, but beyond simply amusing audiences, they also reveal much about class, race, gender, sexuality, and national identity. In All-Stars and Movie Stars, Ron Briley, Michael K. Schoenecke, and Deborah A. Carmichael explore the interplay between sports films and critical aspects of our culture, examining them as both historical artifacts and building blocks of ideologies, values, and stereotypes.

The book covers not only Hollywood hits such as Field of Dreams and Miracle but also documentaries such as The Journey of the African American Athlete and international cinema, such as the German film The Miracle of Bern. The book also explores television coverage of sports, commenting on the relationship of media to golf and offering a new perspective on the culture and politics behind the depictions of the world's most popular pastimes.

The first part of the book addresses how sports films represent the cultural events, patterns, and movements of the times in which they were set, as well as the effect of the media and athletic industry on the athletes themselves. Latham Hunter examines how the baseball classic The Natural reflects traditional ideas about gender, heroism, and nation, and Harper Cossar addresses how the production methods used in televised golf affect viewers. The second section deals with issues such as the growth of women's involvement in athletics, sexual preference in the sports world, and the ever-present question of race by looking at sports classics such as Rocky, Hoosiers, and A League of Their Own.

Finally, the authors address the historical and present-day role sports play in the international and political arena by examining such films as Visions of Eight and The Loneliness of the Long Distance Runner. This important and unique collection illuminates the prominent role that sports play in society and how that role is reflected in film. Analysis of the depiction of sports in film and television provides a deeper understanding of the appeal that sports hold for people worldwide and of the forces behind the historic and cultural traditions linked to sports.

All the News That's Fit to Sell Cover

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All the News That's Fit to Sell

How the Market Transforms Information into News

James T. Hamilton

That market forces drive the news is not news. Whether a story appears in print, on television, or on the Internet depends on who is interested, its value to advertisers, the costs of assembling the details, and competitors' products. But in All the News That's Fit to Sell, economist James Hamilton shows just how this happens. Furthermore, many complaints about journalism--media bias, soft news, and pundits as celebrities--arise from the impact of this economic logic on news judgments.

This is the first book to develop an economic theory of news, analyze evidence across a wide range of media markets on how incentives affect news content, and offer policy conclusions. Media bias, for instance, was long a staple of the news. Hamilton's analysis of newspapers from 1870 to 1900 reveals how nonpartisan reporting became the norm. A hundred years later, some partisan elements reemerged as, for example, evening news broadcasts tried to retain young female viewers with stories aimed at their (Democratic) political interests. Examination of story selection on the network evening news programs from 1969 to 1998 shows how cable competition, deregulation, and ownership changes encouraged a shift from hard news about politics toward more soft news about entertainers.

Hamilton concludes by calling for lower costs of access to government information, a greater role for nonprofits in funding journalism, the development of norms that stress hard news reporting, and the defining of digital and Internet property rights to encourage the flow of news. Ultimately, this book shows that by more fully understanding the economics behind the news, we will be better positioned to ensure that the news serves the public good.

All Thoughts Are Equal Cover

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All Thoughts Are Equal

Laruelle and Nonhuman Philosophy

John Ó Maoilearca

All Thoughts Are Equal is both an introduction to the work of French philosopher François Laruelle and an exercise in nonhuman thinking. For Laruelle, standard forms of philosophy continue to dominate our models of what counts as exemplary thought and knowledge. By contrast, what Laruelle calls his “non-standard” approach attempts to bring democracy into thought, because all forms of thinking—including the nonhuman—are equal.

John Ó Maoilearca examines how philosophy might appear when viewed with non-philosophical and nonhuman eyes. He does so by refusing to explain Laruelle through orthodox philosophy, opting instead to follow the structure of a film (Lars von Trier’s documentary The Five Obstructions) as an example of the non-standard method. Von Trier’s film is a meditation on the creative limits set by film, both technologically and aesthetically, and how these limits can push our experience of film—and of ourselves—beyond what is normally deemed “the perfect human.”

All Thoughts Are Equal adopts film’s constraints in its own experiment by showing how Laruelle’s radically new style of philosophy is best presented through our most nonhuman form of thought—that found in cinema.


Allegories Of Underdevelopment Cover

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Allegories Of Underdevelopment

Aesthetics and Politics in Modern Brazilian Cinema

Ismail Xavier

“A camera in the hand and ideas in the head” was the primary axiom of the young originators of Brazil’s Cinema Novo. This movement of the 1960s and early 1970s overcame technical constraints and produced films on minimal budgets. In Allegories of Underdevelopment, Ismail Xavier examines a number of these films, arguing that they served to represent a nation undergoing a political and social transformation into modernity.

Its best-known voice, filmmaker Glauber Rocha claimed that Cinema Novo was driven by an “aesthetics of hunger.” This scarcity of means demanded new cinematic approaches that eventually gave rise to a legitimate and unique Third World cinema. Xavier stands in the vanguard of scholars presenting and interpreting these revolutionary films—from the masterworks of Rocha to the groundbreaking experiments of Julio Bressane, Rogério Sganzerla, Andrea Tonacci and Arthur Omar—to an English-speaking audience.

Focusing on each filmmaker’s use of narrative allegories for the “conservative modernization” Brazil and other nations underwent in the 1960s and 1970s, Xavier asks questions relating to the connection between film and history. He examines the way Cinema Novo transformed Brazil’s cultural memory and charts the controversial roles that Marginal Cinema and Tropicalism played in this process. Among the films he discusses are Black God, White Devil, Land in Anguish, Red Light Bandit, Macunaíma, Antônio das Mortes, The Angel Is Born, and Killed the Family and Went to the Movies.

A compelling chronicle of the history of modern Brazilian cinema, Allegories of Underdevelopment brings to light the work of many filmmakers who are virtually unknown in the English-speaking world.


Alternative Projections Cover

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Alternative Projections

Experimental Film in Los Angeles, 1945-1980

Edited by David E. James and Adam Hyman

Alternative Projections: Experimental Film in Los Angeles, 1945-1980 is a groundbreaking anthology that features papers from a conference and series of film screenings on postwar avant-garde filmmaking in Los Angeles sponsored by Filmforum, the Getty Foundation, and the University of Southern California’s School of Cinematic Arts, together with newly-commissioned essays, an account of the screening series, reprints of historical documents by and about experimental filmmakers in the region, and other rare photographs and ephemera. The resulting diverse and multi-voiced collection is of great importance, not simply for its relevance to Los Angeles, but also for its general discoveries and projections about alternative cinemas.

Amateur Cinema Cover

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Amateur Cinema

The Rise of North American Moviemaking, 1923-1960

Charles Tepperman

From the very beginning of cinema, there have been amateur filmmakers at work. It wasn’t until Kodak introduced 16mm film in 1923, however, that amateur moviemaking became a widespread reality, and by the 1950s, over a million Americans had amateur movie cameras. In Amateur Cinema, Charles Tepperman explores the meaning of the "amateur" in film history and modern visual culture.

In the middle decades of the twentieth century—the period that saw Hollywood’s rise to dominance in the global film industry—a movement of amateur filmmakers created an alternative world of small-scale movie production and circulation. Organized amateur moviemaking was a significant phenomenon that spawned dozens of clubs and thousands of participants producing experimental, nonfiction, or short-subject narratives. Rooted in an examination of surviving films, this book traces the contexts of "advanced" amateur cinema and articulates the broad aesthetic and stylistic tendencies of amateur films.

Amazon Town TV Cover

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Amazon Town TV

An Audience Ethnography in Gurupá, Brazil

By Richard Pace and Brian P. Hinote

This pioneering study examines television’s impact on an Amazonian river town from the first broadcasts in Gurupá, in 1983, to the present.

America's First Network TV Censor Cover

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America's First Network TV Censor

The Work of NBC's Stockton Helffrich

Robert Pondillo

In America's First Network TV Censor, Robert Pondillo uses the records of Stockton Helffrich, the first manager of the NBC censorship department, to look at significant subjects of early censorship and how Helffrich used censorship to promote positive changes in the early days of television in the 1940s and 1950s.

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