9 книг по истории кино

Table of Contents
Introduction
Chapter I: The beginning
Chapter II: Art—a yeaming for the ideal
Cllapter III: Imprinted time
Chapter IV: Cinema's destined role
Chapter V: The film image
Time, rhythm and editing
Scenario and shooting script
The film's graphic realisation
The film actor
Music and noises
Chapter VI: The author in search of an audience
Chapter VII: The artist's responsibility
Chapter VIII: After Nostalgia
Chapter IX: The Sacrifice
Conclusion
Notes

Constantine Verevis’ new book Film Remakes joins this already-impressive body of work [that is, scholarship developed over the last twenty years that examines the remake in a serious way] and indeed makes an important contribution to the field. Synthesizing and productively modifying numerous other theorists and critics, Verevis provides the most sustained and systematic study devoted exclusively to film remakes that exists in English […]
The author advances a polemic regarding the theorization of remakes that is worth repeating; although remakes may engage in particular kinds of intertextual relation with other texts, purely textual approaches toward remakes are insufficient. Rather, the complex interpenetration of culture, economics, media technologies, and institutions in historically-specific circumstances demands that the remake be considered within a broader theoretical matrix. […]
[T]he broad scope, firm theoretical grounding, and salient insights found throughout this book will, in all probability, make it a common point of reference for future studies on the topic. It could certainly play a central role in any course on film remakes. […] Elucidating a number of theoretical issues as well as clarifying many specific cases, Film Remakes marks a strong addition to the literature on film remakes.

The Rough Guide to Sci-Fi Movies is a comprehensive companion to the 'final frontier' of film. It explores cinema's fascination with space exploration, time travel and fantastical worlds, and tells the stories behind the movies that have been expanding our universe since film began. Features include:
The origins: How everything from the philosophy of Plato to classic Victorian tales and cult comic books has helped to create sci-fi as we know it.
The canon: 50 essential science fiction movies, including Metropolis, Star Wars, Blade Runner, 2001, Alien and The Planet of the Apes -- with dozens more films reviewed in each chapter.
The locations: The places we know -- decimated by invading alien hordes -- and those we don't, from the moons of Jupiter to the barren wastes of Tatooine.
The icons: Filmmakers such as George Lucas and Stanley Kubrick; characters like Ming the Merciless and Ellen Ripley; and not forgetting the spaceships, robots and creatures that defined a genre.
Global sci-fi: The classic and the weird from Mexico, Russia, India and beyond, with special attention paid to the anime and kaiju eiga traditions of Japan.
And everything else you need to know: The technology, the fans, conventions, magazines and websites.

The Western film is inextricably tied to American culture: untamed landscapes, fiercely independent characters, and an unwavering distinction between good and evil. Yet Westerns began in the early twentieth century as far more fluid works of comedy, adventure, and historical explorations of the frontier landscape. Nanna Verhoeff examines here the earliest films made in the Western genre and proposes the thought-provoking argument that these little-studied films demand new ways of considering Westerns and the history of cinema.
Verhoeff analyzes the earliest American and European Westerns—made between 1894 and 1915—and finds them to be an international repository for anxieties about modernity and identity, not the instructional morality tales we assume them to be. She draws on an array of archival materials—photography, paintings, Wild West shows, popular ethnographic studies, and pulp literature—to locate these early Westerns more precisely in their original social and cultural contexts. These early films—which coincided with the “closing” of the West and rises in rates of immigration, railroad travel, and urbanization—drove the transformation of film, Verhoeff argues, from just another new technology into the dominant cultural vehicle for dealing with issues of national and personal nostalgia, as well as uncertainty in the face of modernity. From these fragmentary early films Verhoeff extracts a rich historical analysis that radically reorients our view of the first two decades of cinema history in America and provocatively connects the evolution of Westerns to our transition today into a new mediaculture.

Examining forty films thematically, Lev explores the conflicting visions presented in films with the following kinds of subject matter:
Hippies (Easy Rider, Alice's Restaurant)
Cops (The French Connection, Dirty Harry)
Disasters and conspiracies (Jaws, Chinatown)
End of the Sixties (Nashville, The Big Chill)
Art, Sex, and Hollywood (Last Tango in Paris)
Teens (American Graffiti, Animal House)
War (Patton, Apocalypse Now)
African-Americans (Shaft, Superfly)
Feminisms (An Unmarried Woman, The China Syndrome)
Future visions (Star Wars, Blade Runner)

Too often dismissed as escapist entertainment or vilified as mass manipulation, popular cinema in the Third Reich was in fact sustained by well-established generic conventions, cultural traditions, aesthetic sensibilities, social practices, and a highly developed star system—not unlike its Hollywood counterpart in the 1930s. This pathfinding study contributes to the ongoing reassessment of Third Reich cinema by examining it as a social, cultural, economic, and political practice that often conflicted with, contradicted, and compromised the intentions of the Propaganda Ministry. Nevertheless, by providing the illusion of a public sphere presumably free of politics, popular cinema helped to sustain the Nazi regime, especially during the war years.
Rather than examining Third Reich cinema through overdetermined categories such as propaganda, ideology, or fascist aesthetics, Sabine Hake concentrates on the constituent elements shared by most popular cinemas: famous stars, directors, and studios; movie audiences and exhibition practices; popular genres and new trends in set design; the reception of foreign films; the role of film criticism; and the representation of women. She pays special attention to the forced coordination of the industry in 1933, the changing demands on cinema during the war years, and the various ways of coming to terms with these filmic legacies after the war. Throughout, Hake's findings underscore the continuities among Weimar, Third Reich, and post-1945 West German cinema. They also emphasize the codevelopment of German and other national cinemas, especially the dominant Hollywood model.

"Kozloff's impressive work on dialogue in U.S. and some British films is often in agreement with French authority Michel Chion. Kozloff has the advantage of very readable prose with an almost encyclopedic knowledge of U.S sound films. . . . She illustrates the importance of both dialogue and sound in the work of many directors, e.g., Orson Welles, Robert Altman, Preston Sturges. She illustrates how dialogue is vital to various genres, providing examples in chapters on Westerns, screwball comedies, gangster films, and melodramas. "–Choice

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