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Contemporary U.S. Cinema is a forceful exploration of the tumultuous changes that have dominated the shifting landscape of American film-making over the past three decades. From the explosive release of Easy Rider to the excesses of Heaven's Gate and the comic book figures of Spider-Man, its aim is to examine the economic, social and cultural contexts of mainstream and independent American films. The book divides into nine provocative chapters with material on: the most significant individual film-makers, such as Scorsese, Coppola and Lucas, as well as independent film-makers like Jarmusch and Anders the careers of leading actors of the last thirty years, such as Jack Nicholson, Robert Redford and Julia Roberts, whilst exploring the powerful position of the film star in the modern American film-making process the economics of Contemporary U.S. Cinema with particular reference to the tortuous journey from production, distribution and exhibition of Waterworld and Titanic the artistic influence of foreign film-makers, such as François Truffaut and Jean-Luc Godard, and explores Hollywood's increasing dominance and reliance on the global market genres, sequels and the recent developments in computer-based technologies, using examples from The Godfather I - III, The Matrix, the Star Wars saga and remakes from Shaft to Ocean's Eleven The book is illustrated with stills throughout and includes a bibliography and annotated further reading list.
This is a comprehensive introduction to post-classical American film. Covering American cinema since 1960, the text looks at both Hollywood and non-mainstream cinema.
This engaging book explores Latin America cinema since 2000, an extraordinary period of international recognition. Leading specialists consider the reasons for the unprecedented commercial and critical successes of movies such as City of God, The Motorcycle Diaries, Y tu mamá también, and Nine Queens, as well as equally important films that failed to break out on the international circuit. The chapters not only offer textual analysis, but also assess the films' social context and production conditions. Their well-rounded analyses offer a rich picture of the state of contemporary filmmaking in a range of Latin American countries. Nuanced and thought-provoking, the readings in this book will provide invaluable interpretations for students and scholars of Latin American film.
From Easy Rider to The Blair Witch Project, this book is a comprehensive examination of the independent film scene. Exploring the uneasy relationship between independent films and the major studios, the contributors trace the changing ideas and definitions of independent cinema, and the diversity of independent film practices. They consider the ways in which indie films are marketed and distributed, and how new technologies such as video, cable and the internet, offered new opportunities for filmmakers to produce and market independent films. Turning to the work of key auteurs such as John Sayles and Haile Gerima, contributors ask whether independent filmmakers can also be stars, and consider how indie features like Boys Don't Cry and Shopping for Fangs address issues of gender, sexuality and ethnicity normally avoided by Hollywood. For all students of film studies and American studies, this cultural journey through independent film history will be an absolute must read.
For the past century African American cinema has primarily been an independent phenomenon. However, recent and consistent inclusion in the mainstream film industry of Hollywood suggests a significant change in its status. Despite a tendency to posit the « genre as « other it is not a separate cinema. Contemporary African American cinema contextualizes its forms and themes within the American film tradition. With crossover success and critical acclaim, it became clear by 1991 that profit would be a motive for expansion, and that these films had established profound connections not only with Black audiences and agendas but within a diverse mainstream audience as well. Contemporary African American cinema continues to sustain itself while informing, mediating, challenging, and entertaining American audiences. « Sheril D. Antonio's excellent, comprehensive study discusses the key films that in various ways, from genre to aesthetics and politics, define 'the new black film wave' at its high moment of production. 'Contemporary African American Cinema' gets into the issues, drawing lucid connections between the African American 'bood-homeboy-action' flick and its ancestor, the American gangster film; sharply exploring intersections of gender, race, and representation in commercial cinema. From moviegoer to scholar, this book is a 'must read' for all wanting to understand, and enjoy, contemporary African American cinema. (Ed Guerrero, Associate Professor of Cinema Studies, Tisch School of the Arts, New York University)
While the myth of a classless America endures in the American Dream, the very stratification that it denies unfairly affects the majority of Americans. Study after study shows that it's increasingly difficult for working class people to achieve upward mobility in the US - so how does the American Dream continue to thrive? J. Emmett Winn shows us that the American Dream's continued glorification in contemporary Hollywood cinema should not be ignored. The book explicates three major themes surrounding the American Dream in contemporary Hollywood cinema and relates those findings to the United States' social and cultural changes in the last 25 years. Through his thoughtful analysis of films as diverse as Working Girl, Titanic, Pretty Woman, Flashdance, The Firm, Good Will Hunting, Saturday Night Fever, Wall Street and many others, Winn shows that contemporary Hollywood is very much in the business of keeping the Dream alive.
Utopianism, alongside its more prevalent dystopian opposite together with ecological study has become a magnet for interdisciplinary research and is used extensively to examine the most influential global medium of all time. The book applies a range of interdisciplinary strategies to trace the evolution of ecological representations in Hollywood film from 1950s to the present, which has not been done on this scale before. Many popular science fiction, westerns, nature and road movies, as listed in the filmography are extensively analysed while particularly privileging ecological moments of sub.

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