Film history, theory or criticism

Gertrud Koch ist Professorin für Filmwissenschaft an der Freien Universität Berlin und Sprecherin des Sonderforschungsbereichs »Ästhetische Erfahrung im Zeichen der Entgrenzung der Künste«.

Das verborgene Gedächtnis des Kinos schlummert in den filmischen Dingen, die seine Bilder möblieren. Sie sind stets präsent, werden aber selten bewusst erfasst. Wer bislang den Blick auf diese Dinge richtete, verstand sie als materielle Kultur vergangener Zeiten, die der Film konserviert, manchmal auch als zu Objekten materialisierte Ideen.  Die Beiträge dieses Bandes versuchen, die filmischen Dinge wie handelnde Personen zu betrachten und ihre stummen Monologe wahrzunehmen, um zu

Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region

Acknowledgments
Introduction
1. Establishing a Tonal Center
2. Music as Cultural Marker in German Film
3. History on the Soundtrack: The Example of Beethoven's Ninth
4. A Wagnerian German Requiem: Syberberg's Hitler (1977)
5. Alexander Kluge's Songs without Words: Die Patriotin (1979)
6. Fassbinder's Compromised Request Concert: Lili Marleen (1980)
7. The Great Eclecticism of the Filmmaker Werner Herzog
8. Pivot Chords: Austrian Music and Visconti's Senso (1954)

An ambitious and fascinating book.

Acknowledgments
Introduction
Part One: Alternative Institutions
1. Under the Aegis of Surrealism: How a Publicity Artist Became the Manager of an Independent Film Company
2. The Rise of the Accursed: When Bresson was Co-President of an Avant-Garde Ciné-Club
Part Two: Vanguard Forms
3. Purifying Cinema: The Provocations of Faithful Adaptation and First-Person Storytelling in "Ignace de Loyola" (1948) and Journal d'un curé de campagne (1951)
4. Theorizing the Image: Bresson

Acknowledgements
Foreword, by Jane Jorgensen
1. Setting the Stage
2. Unveiling a New Model
3. Transforming Cinema into Action
4. Continuing a Legacy
Afterword, by Jonathan Banks

In this exhilarating counter-history of experimental filmmaking in Spain, Steven Marsh takes up the politics of form, the trouble with film history, and the theoretical potential of haunting, discontinuity and absence. Marsh's close attention to the rich archive of Spanish alternative cinemas is welcome in itself, but he also brings these films into wider debates on the national and transnational. Spanish Cinema Against Itself is an important intervention in Spanish film studies and, i

During Hollywoods Golden Age, a bevy of talented Canadians earned important roles in the motion picture industry.

Maria San Filippo is Associate Professor in the Department of Visual and Media Arts at Emerson College, and editor of New Review of Film and Television Studies. She is author of the Lambda Literary Award–winning book The B Word: Bisexuality in Contemporary Film and Television, and editor of the forthcoming collection After 'Happily Ever After': Romantic Comedy in the Post-Romantic Age.

Taking as his starting point fifteen characteristically penetrating epigrams by Jean-Luc Godard, Richard Dienst invites us to trace a new path through some of the fundamental questions of cinema. Godard has never stopped offering lessons about seeing and thinking, always insisting that we have to learn how to start over. By starting over "from scratch," Godard challenges us to rethink our ideas about embodied perception, material form and the politics of making images. Less a commentary

Introduction
1. What are these cinematic countrysides?
Robert Fish

Part I. Nations, borders and histories
2. Far from the fatal shore: finding meaning and identity in the rural Australian landscape
Jonathan Rayner
3. Nature and nation in North Korean film
Carol Medlicott
4. Mapping the nation and the countryside in European ‘films of voyage’
Maria Rovisco
5. Lurking beneath the skin: pa

Acknowledgements
Introduction: Working in and on Nerds, Wonks, and Neo-Cons, this Year and to Come / Jonathan P. Eburne and Benjamin Schreier
1. Wonk Masculinity / Dennis Allen
2. Surface Worship, Super-Public Intellectuals, and the Suspiciously Common Reader / William J. Maxwell
3. Stratigraphic Form: Science Fictions of the Present / Warren Liu
4. Obsession, Pathology, and Justice: Nerds, Bodies, Winsor McCay, and the 1893 Chicago Fair / N

Introduction / Marina Dahlquist, Doron Galili, Jan Olsson, and Valentine Robert

Part I: Impossible Bodies
Part I Introduction
1. The Impossible Body of Early Cinema / Tom Gunning
2. Ovidian Violence: Georges Méliès' Explosive Screen Bodies / Vito Adriaensens
3. Le corps sous le scalpel de la presse illustrée et du cinema / Jérémy Houillère
4. Ghosts and their Nationality in the Fin De Siècle Machinery / Ian Christie

Part II: Inventories of the Body