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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 book interrogates representations of fatherhood across the spectrum of popular U.S. film of the early twenty-first century. It situates them in relation to postfeminist discourse, identifying and discussing dominant paradigms and tropes that emerge from the tendency of popular cinema to configure ideal masculinity in paternal terms. It analyses postfeminist fatherhood across a range of genres including historical epics, war films, westerns, bromantic comedies, male melodramas, action films, family comedies, and others. It also explores recurring themes and intersections such as the rejuvenation of aging masculinities through fatherhood, the paternalized recuperation of immature adult masculinities, the relationship between fatherhood in film and 9/11 culture, post-racial discourse in representations of fatherhood, and historically located formations of fatherhood. It is the first book length study to explore the relationship between fatherhood and postfeminism in popular cinema.
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.
Cinema Wars explores the intersection of film, politics, and US culture and society through a bold critical analysis of the films, TV shows, and documentaries produced in the early 2000s Offers a thought-provoking depiction of Hollywood film as a contested terrain between conservative and liberal forces Films and documentaries discussed include: Black Hawk Down, The Dark Knight, Star Wars, Syriana, WALL-E, Fahrenheit 9/11 and other Michael Moore documentaries, amongst others Explores how some films in this era supported the Bush-Cheney regime, while others criticized the administration, openly or otherwise Investigates Hollywood’s treatment of a range of hot topics, from terrorism and environmental crisis to the Iraq war and the culture wars of the 2000s Shows how Hollywood film in the 2000s brought to life a vibrant array of social protest and helped create cultural conditions to elect Barack Obama
A critical introduction to the contemporary American novel focusing on contexts, key texts and criticism.
La interpretació de films basats en obres provinents d'altres mitjans a quina ha estat limitada per enfocaments crítics que privilegien l'obra original; aquest és el cas, especialment, de les adaptacions dels clàssics de la literatura. A través de l'anàlisis detallades de dos films contemporanis -The Age of Innocence (Martin Scorsese, 1993) i The Portrait of a Lady (Jane Campion, 1996)-, aquest treball replanteja l'adaptació com una manera de recreació del passat que cristal·litza a través de les textures de l'anomenada popularment pel·lícula d'època. Traslladant la reescriptura de dos textos del realisme literari nord-americà al context de l'obra de tots dos cineastes, l'anàlisi comparativa es concentra en la imatge mentre que portadora d'una memòria intertextual recuperada sota el prisma de diferents discursos contemporanis.
Contemporary Black American Cinema offers a fresh collection of essays on African American film, media and visual culture in the era of global multiculturalism. Integrating theory, history, and criticism, the contributing authors deftly connect interdisciplinary perspectives from American studies, cinema studies, cultural studies, political science, media studies, and Queer theory. This multidisciplinary methodology expands the discursive and interpretive registers of film analysis. From Paul Robeson's and Sidney Poitier's star vehicles to Lee Daniels' directorial forays, these essays include but surpass discussions of urban realism in New Black Cinema. These entries address the career legacies of film stars, examine various iterations of Blaxploitation-animation, question the comedic politics of fat suit films, and celebrate the innovation of avant-garde and experimental cinema.

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