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

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Art in the Cinematic Imagination Cover

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Art in the Cinematic Imagination

By Susan Felleman

Bringing an art historical perspective to the realm of American and European film, Art in the Cinematic Imagination examines the ways in which films have used works of art and artists themselves as cinematic and narrative motifs. From the use of portraits in Vertigo to the cinematic depiction of women artists in Artemisia and Camille Claudel, Susan Felleman incorporates feminist and psychoanalytic criticism to reveal individual and collective perspectives on sex, gender, identity, commerce, and class. Probing more than twenty films from the postwar era through contemporary times, Art in the Cinematic Imagination considers a range of structurally significant art objects, artist characters, and art-world settings to explore how the medium of film can amplify, reinvent, or recontextualize the other visual arts. Fluently speaking across disciplines, Felleman's study brings a broad array of methodologies to bear on questions such as the evolution of the “Hollywood Love Goddess” and the pairing of the feminine with death on screen. A persuasive approach to an engaging body of films, Art in the Cinematic Imagination illuminates a compelling and significant facet of the cinematic experience.

Arthur Penn Cover

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Arthur Penn

New Edition

Robin Wood with Richard Lippe Edited by Barry Keith Grant

Arthur Penn—director of The Miracle Worker, Bonnie and Clyde, Alice’s Restaurant, and Little Big Man—was at the height of his career when Robin Wood’s analysis of the American director was originally published in 1969. Although Wood then considered Penn’s career only through Little Big Man, Arthur Penn remains the most insightful discussion of the director yet published. In this new edition, editor Barry Keith Grant presents the full text of the original monograph along with additional material, showcasing Wood’s groundbreaking and engaging analysis of the director. Of all the directors that Wood profiled, Penn is the only one with whom he developed a personal relationship. In fact, Penn welcomed Wood on the set of Little Big Man (1969), where he interviewed the director during production of the film and again years later when Penn visited Wood at home. Both interviews are included in this expanded edition of Arthur Penn, as are five other pieces written over a period of sixteen years, including the extended discussion of The Chase that was the second chapter of Wood’s later important book Hollywood from Vietnam to Reagan. The volume also includes a complete filmography and a foreword by Barry Keith Grant. The fourth classic monograph by Wood to be republished by Wayne State University Press, this volume will be welcomed by film scholars and readers interested in American cinematic and cultural history.

At Full Speed Cover

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At Full Speed

Hong Kong Cinema in a Borderless World

Esther Yau

Breathtaking swordplay and nostalgic love, Peking opera and Chow Yun-Fat’s cult followers-these are some of the elements of the vivid and diverse urban imagination that find form and expression in the thriving Hong Kong cinema. All receive their due in At Full Speed, a volume that captures the remarkable range and energy of a cinema that borrows, invents, and reinvents across the boundaries of time, culture, and conventions.

At Full Speed gathers film scholars and critics from around the globe to convey the transnational, multilayered character that Hong Kong films acquire and impart as they circulate worldwide. These writers scrutinize the films they find captivating: from the lesser known works of Law Man and Yuen Wo-ping to such film festival notables as Stanley Kwan and Wong Kar-wai, and from the commercial action, romance, and comedy genres of Jackie Chan, Peter Chan, Stephen Chiau, Tsui Hark, John Woo, and Derek Yee to the attempted departures of Evans Chan, Ann Hui, and Clara Law.

In this cinema the contributors identify an aesthetics of action, gender-flexible melodramatic excesses, objects of nostalgia, and globally projected local history and identities, as well as an active critical film community. Their work, the most incisive account ever given of one of the world’s largest film industries, brings the pleasures and idiosyncrasies of Hong Kong cinema into clear close-up focus even as it enlarges on the relationships between art and the market, cultural theory and the movies.

Atomic Light (Shadow Optics) Cover

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Atomic Light (Shadow Optics)

Akira Mizuta Lippit

Dreams, x-rays, atomic radiation, and “invisible men” are phenomena that are visual in nature but unseen. Atomic Light (Shadow Optics) reveals these hidden interiors of cultural life, the “avisual” as it has emerged in the writings of Jorge Luis Borges and Jacques Derrida, Tanizaki Jun’ichirô and Sigmund Freud, and H. G. Wells and Ralph Ellison, and in the early cinema and the postwar Japanese films of Kobayashi Masaki, Teshigahara Hiroshi, Kore-eda Hirokazu, and Kurosawa Kiyoshi, all under the shadow cast by the atomic bombings of Hiroshima and Nagasaki. 

Akira Mizuta Lippit focuses on historical moments in which such modes of avisuality came into being—the arrival of cinema, which brought imagination to life; psychoanalysis, which exposed the psyche; the discovery of x-rays, which disclosed the inside of the body; and the “catastrophic light” of Hiroshima and Nagasaki, which instituted an era of atomic discourses. 

With a taut, poetic style, Lippit produces speculative readings of secret and shadow archives and visual structures or phenomenologies of the inside, charting the materiality of what both can and cannot be seen in the radioactive light of the twentieth century. 

Akira Mizuta Lippit is professor of cinema, comparative literature, and Japanese culture at the University of Southern California. He is the author of Electric Animal: Toward a Rhetoric of Wildlife (Minnesota, 2000).

The Attractive Empire Cover

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The Attractive Empire

Transnational Film Culture in Imperial Japan

Michael Baskett

Japanese film crews were shooting feature-length movies in China nearly three decades before Akira Kurosawa’s Rashomon (1950) reputedly put Japan on the international film map. Although few would readily associate Japan’s film industry with either imperialism or the domination of world markets, the country’s film culture developed in lock step with its empire, which, at its peak in 1943, included territories from the Aleutians to Australia and from Midway Island to India. With each military victory, Japanese film culture’s sphere of influence expanded deeper into Asia, first clashing with and ultimately replacing Hollywood as the main source of news, education, and entertainment for millions. The Attractive Empire is the first comprehensive examination of the attitudes, ideals, and myths of Japanese imperialism as represented in its film culture. In this stimulating new study, Michael Baskett traces the development of Japanese film culture from its unapologetically colonial roots in Taiwan and Korea to less obvious manifestations of empire such as the semicolonial markets of Manchuria and Shanghai and occupied territories in Southeast Asia. Drawing on a wide range of previously untapped primary sources from public and private archives across Asia, Europe, and the United States, Baskett provides close readings of individual films and trenchant analyses of Japanese assumptions about Asian ethnic and cultural differences. Finally, he highlights the place of empire in the struggle at legislative, distribution, and exhibition levels to wrest the "hearts and minds" of Asian film audiences from Hollywood in the 1930s as well as in Japan’s attempts to maintain that hegemony during its alliance with Nazi Germany and Fascist Italy.

Authentic™ Cover

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The Politics of Ambivalence in a Brand Culture

Sarah Banet-Weiser

Brands are everywhere. Branding is central to political campaigns and political protest movements; the alchemy of social media and self-branding creates overnight celebrities; the self-proclaimed “greening” of institutions and merchant goods is nearly universal. But while the practice of branding is typically understood as a tool of marketing, a method of attaching social meaning to a commodity as a way to make it more personally resonant with consumers, Sarah Banet-Weiser argues that in the contemporary era, brands are about culture as much as they are about economics. That, in fact, we live in a brand culture.
Authentic™ maintains that branding has extended beyond a business model to become both reliant on, and reflective of, our most basic social and cultural relations. Further, these types of brand relationships have become cultural contexts for everyday living, individual identity, and personal relationships—what Banet-Weiser refers to as “brand cultures.” Distinct brand cultures, that at times overlap and compete with each other, are taken up in each chapter: the normalization of a feminized “self-brand” in social media, the brand culture of street art in urban spaces, religious brand cultures such as “New Age Spirituality” and “Prosperity Christianity,”and the culture of green branding and “shopping for change.”
In a culture where graffiti artists loan their visions to both subway walls and department stores, buying a cup of “fair-trade” coffee is a political statement, and religion is mass-marketed on t-shirts, Banet-Weiser questions the distinction between what we understand as the “authentic” and branding practices. But brand cultures are also contradictory and potentially rife with unexpected possibilities, leading Authentic™ to articulate a politics of ambivalence, creating a lens through which we can see potential political possibilities within the new consumerism.

Authorship in Film Adaptation Cover

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Authorship in Film Adaptation

Edited with an introduction by Jack Boozer

Authoring a film adaptation of a literary source not only requires a media conversion but also a transformation as a result of the differing dramatic demands of cinema. The most critical central step in this transformation of a literary source to the screen is the writing of the screenplay. The screenplay usually serves to recruit producers, director, and actors; to attract capital investment; and to give focus to the conception and production of the film project. Often undergoing multiple revisions prior to production, the screenplay represents the crucial decisions of writer and director that will determine how and to what end the film will imitate or depart from its original source. Authorship in Film Adaptation is an accessible, provocative text that opens up new areas of discussion on the central process of adaptation surrounding the screenplay and screenwriter-director collaboration. In contrast to narrow binary comparisons of literary source text and film, the twelve essays in this collection also give attention to the underappreciated role of the screenplay and film pre-production that can signal the primary intention for a film. Divided into four parts, this collection looks first at the role of Hollywood's activist producers and major auteurs such as Hitchcock and Kubrick as they worked with screenwriters to formulate their audio-visual goals. The second part offers case studies of Devil in a Blue Dress and The Sweet Hereafter, for which the directors wrote their own adapted screenplays. Considering the variety of writer-director working relationships that are possible, Part III focuses on adaptations that alter genre, time, and place, and Part IV investigates adaptations that alter stories of romance, sexuality, and ethnicity.

The Autobiographical Documentary in America Cover

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The Autobiographical Documentary in America

Jim Lane

Since the late 1960s, American film and video makers of all genres have been fascinated with themes of self and identity. Though the documentary form is most often used to capture the lives of others, Jim Lane turns his lens on those media makers who document their own lives and identities. He looks at the ways in which autobiographical documentaries—including Roger and Me, Sherman’s March, and Silverlake Life—raise weighty questions about American cultural life. What is the role of women in society? What does it mean to die from AIDS? How do race and class play out in our personal lives? What does it mean to be a member of a family? Examining the history, diversity, and theoretical underpinnings of this increasingly popular documentary form, Lane tracks a fundamental transformation of notions of both autobiography and documentary.

Avatars Of Story Cover

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Avatars Of Story

Marie-Laure Ryan

Since its inception, narratology has developed primarily as an investigation of literary narrative fiction. Linguists, folklorists, psychologists, and sociologists have expanded the inquiry toward oral storytelling, but narratology remains primarily concerned with language-supported stories. In Avatars of Story, Marie-Laure Ryan moves beyond literary works to examine other media, especially electronic narrative forms.  By grappling with semiotic media other than language and technology other than print, she reveals how story, a form of meaning that transcends cultures and media,  achieves  diversity by presenting itself under multiple avatars.

Ryan begins by considering, among other texts, a 1989 Cubs-Giants baseball broadcast, the reality television show Survivor, and the film The Truman Show. In all these texts, she sees a narrative that organizes meaning without benefit of hindsight, anticipating the real-time dimension of computer games. She then expands her inquiry to new media. In a discussion covering text-based interactive fiction such as Spider and Web and Galatea, hypertexts such as Califia and Patchwork Girl, multimedia works such as Juvenate, Web-based short narratives, and Façade, a multimedia, AI-supported project in interactive drama, she focuses on how narrative meaning is affected by the authoring software, such as the Infocom parser, the Storyspace hypertext-producing system, and the programs Flash and Director. She also examines arguments that have been brought up against considering computer games such as The Sims and EverQuest as a form of narrative, and responds by outlining an approach to computer games that reconciles their imaginative  and strategic dimension. In doing so, Ryan distinguishes a wide spectrum of narrative modes, such as utilitarian, illustrative, indeterminate, metaphorical, participatory, emergent, and simulative.

Ultimately, Ryan stresses the difficulty of reconciling narrativity with interactivity and anticipates the time when media will provide new ways to experience stories. 

Marie-Laure Ryan is an independent scholar and the author of, most recently, Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media.

The B Word Cover

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The B Word

Bisexuality in Contemporary Film and Television

Maria San Filippo

Often disguised in public discourse by terms like "gay," "homoerotic," "homosocial," or "queer," bisexuality is strangely absent from queer studies and virtually untreated in film and media criticism. Maria San Filippo aims to explore the central role bisexuality plays in contemporary screen culture, establishing its importance in representation, marketing, and spectatorship. By examining a variety of media genres including art cinema, sexploitation cinema and vampire films, "bromances," and series television, San Filippo discovers "missed moments" where bisexual readings of these texts reveal a more malleable notion of subjectivity and eroticism. San Filippo's work moves beyond the subject of heteronormativity and responds to "compulsory monosexuality," where it's not necessarily a couple's gender that is at issue, but rather that an individual chooses one or the other. The B Word transcends dominant relational formation (gay, straight, or otherwise) and brings a discursive voice to the field of queer and film studies.

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