Considers the ephemeral nature of the cinematic experience as we now apprehend it, and examines the ways in which technological advances in film and moving image production have changed this experience over the course of the last thirty-odd years.
This book not only includes chapters on more than twenty new screen sleuths but also updates information on several detectives included in the first two volumes of Famous Movie Detectives. Author Michael Pitts also provides new material on sleuths in silent films and serials, as well as a listing of radio and television detective programs.
A comprehensive account of the popular German film industry of the 1960s, its main protagonists, and its production strategies. The book challenges traditional assumptions about this mode of film-making.
‘It is impossible not to be thrilled by Edgar Wallace.’ So said the blurbs of Wallace’s own books. Indeed, he was a prolific author of over 170 books, translated into more than thirty languages. More films were made from his books than any other twentieth-century writer, and in the 1920s a quarter of all books read in England were written by him. His success is written in black and white, but his life got off to an inauspicious start. Edgar Wallace, the illegitimate son of a travelling actress, rose from poverty in Victorian England to become the most popular author in the world and a global celebrity of his age. Famous for his thrillers, with their fantastic plots, in many ways Wallace did not write his most exciting story: he lived it, and here Neil Clark eloquently tells his tale to allow you to live it too.
Offers a fresh approach to German film studies by tracing key genres -- including horror, the thriller, Heimat films, and war films -- over the course of German cinema history
This comprehensively revised, updated and significantly extended edition introduces German film history from its beginnings to the present day, covering key periods and movements including early and silent cinema, Weimar cinema, Nazi cinema, the New German Cinema, the Berlin School, the cinema of migration, and moving images in the digital era. Contributions by leading international scholars are grouped into sections that focus on genre; stars; authorship; film production, distribution and exhibition; theory and politics, including women's and queer cinema; and transnational connections. Spotlight articles within each section offer key case studies, including of individual films that illuminate larger histories (Heimat, Downfall, The Lives of Others, The Edge of Heaven and many more); stars from Ossi Oswalda and Hans Albers, to Hanna Schygulla and Nina Hoss; directors including F.W. Murnau, Walter Ruttmann, Wim Wenders and Helke Sander; and film theorists including Siegfried Kracauer and Béla Balázs. The volume provides a methodological template for the study of a national cinema in a transnational horizon.
The first full-length study of the authorial and cross-media practices of the English novelist Elinor Glyn (1864-1943), Elinor Glyn as Novelist, Moviemaker, Glamour Icon and Businesswoman examines Glyn’s work as a novelist in the United Kingdom followed by her success in Hollywood where she adapted her popular romantic novels into films. Making extensive use of newly available archival materials, Vincent L. Barnett and Alexis Weedon explore Glyn’s experiences from multiple perspectives, including the artistic, legal and financial aspects of the adaptation process. At the same time, they document Glyn’s personal and professional relationships with a number of prominent individuals in the Hollywood studio system, including Louis B. Mayer and Irving Thalberg. The authors contextualize Glyn’s involvement in scenario-writing in relationship to other novelists in Hollywood, such as Edgar Wallace and Arnold Bennett, and also show how Glyn worked across Europe and America to transform her stories into other forms of media such as plays and movies. Providing a new perspective from which to understand the historical development of both British and American media industries in the first half of the twentieth century, this book will appeal to historians working in the fields of cultural and film studies, publishing and business history.
There is no cinema with such effect as that of the hallucinatory Italian horror film. From Riccardo Freda's I Vampiri in 1956 to Il Cartaio in 2004, this work recounts the origins of the genre, celebrates at length ten of its auteurs, and discusses the noteworthy films of many others associated with the genre. The directors discussed in detail are Dario Argento, Lamberto Bava, Mario Bava, Ruggero Deodato, Lucio Fulci, Umberto Lenzi, Antonio Margheriti, Aristide Massaccesi, Bruno Mattei, and Michele Soavi. Each chapter includes a biography, a detailed career account, discussion of influences both literary and cinematic, commentary on the films, with plots and production details, and an exhaustive filmography. A second section contains short discussions and selected filmographies of other important horror directors. The work concludes with a chapter on the future of Italian horror and an appendix of important horror films by directors other than the 50 profiled. Stills, posters, and behind-the-scenes shots illustrate the book.