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Author: Kjetil Rødje Publisher: Routledge ISBN: 1317118774 Category : Social Science Languages : en Pages : 213
Book Description
Through studying images of blood in film from the mid-1950s to the end of the 1960s, this path-breaking book explores how blood as an (audio)visual cinematic element went from predominately operating as a signifier, providing audiences with information about a film’s plot and characters, to increasingly operating in terms of affect, potentially evoking visceral and embodied responses in viewers. Using films such as The Return of Dracula, The Tingler, Blood Feast, Two Thousand Maniacs, Color Me Blood Red, Bonnie and Clyde, and The Wild Bunch, Rødje takes a novel approach to film history by following one (audio)visual element through an exploration that traverses established standards for film production and reception. This study does not heed distinctions regarding to genres (horror, western, gangster) or models of film production (exploitation, independent, studio productions) but rather maps the operations of cinematic images across marginal as well as more traditionally esteemed cinematic territories. The result is a book that rethinks and reassembles cinematic practices as well as aesthetics, and as such invites new ways to investigate how cinematic images enter relations with other images as well as with audiences.
Author: Kjetil Rødje Publisher: Routledge ISBN: 1317118774 Category : Social Science Languages : en Pages : 213
Book Description
Through studying images of blood in film from the mid-1950s to the end of the 1960s, this path-breaking book explores how blood as an (audio)visual cinematic element went from predominately operating as a signifier, providing audiences with information about a film’s plot and characters, to increasingly operating in terms of affect, potentially evoking visceral and embodied responses in viewers. Using films such as The Return of Dracula, The Tingler, Blood Feast, Two Thousand Maniacs, Color Me Blood Red, Bonnie and Clyde, and The Wild Bunch, Rødje takes a novel approach to film history by following one (audio)visual element through an exploration that traverses established standards for film production and reception. This study does not heed distinctions regarding to genres (horror, western, gangster) or models of film production (exploitation, independent, studio productions) but rather maps the operations of cinematic images across marginal as well as more traditionally esteemed cinematic territories. The result is a book that rethinks and reassembles cinematic practices as well as aesthetics, and as such invites new ways to investigate how cinematic images enter relations with other images as well as with audiences.
Author: Kjetil Rødje Publisher: Routledge ISBN: 1317118782 Category : Social Science Languages : en Pages : 212
Book Description
Through studying images of blood in film from the mid-1950s to the end of the 1960s, this path-breaking book explores how blood as an (audio)visual cinematic element went from predominately operating as a signifier, providing audiences with information about a film’s plot and characters, to increasingly operating in terms of affect, potentially evoking visceral and embodied responses in viewers. Using films such as The Return of Dracula, The Tingler, Blood Feast, Two Thousand Maniacs, Color Me Blood Red, Bonnie and Clyde, and The Wild Bunch, Rødje takes a novel approach to film history by following one (audio)visual element through an exploration that traverses established standards for film production and reception. This study does not heed distinctions regarding to genres (horror, western, gangster) or models of film production (exploitation, independent, studio productions) but rather maps the operations of cinematic images across marginal as well as more traditionally esteemed cinematic territories. The result is a book that rethinks and reassembles cinematic practices as well as aesthetics, and as such invites new ways to investigate how cinematic images enter relations with other images as well as with audiences.
Author: Kjetil Rodje Publisher: ISBN: Category : Actor-network theory Languages : en Pages : 0
Book Description
This thesis makes a theoretical and methodological contribution to the study of film and (audio)visual media by developing conceptual tools to examine how images operate as material assemblages with expressive potentials. The study formulates how theoretical perspectives from Gilles Deleuze and Felix Guattari can be put to work in an empirically grounded study of the production of images and their potentials for affecting viewers in specific social, cultural and political locations. The study furthermore contributes to studies of film violence by mapping the shifting roles and performances of images of blood in American cinema from the 1950s through the 1960s. During this era, blood went from predominantly being used as a signifier, providing audiences with information regarding a film's characters and plot development, to taking on other, and more sensational, roles. These new blood images not only inform the audience about characters and plot-lines, but rather do something to the audience, evoking visceral responses and performing affective intensities. In order to examine what these images do, this thesis formulates the images of blood as assemblages to examine how blood operates in terms of affect in films such as Blood Feast (1963), Bonnie and Clyde (1967), and The Wild Bunch (1969), The study shows how these and other films bring about very different affective potentials that intersect with social, cultural, and political dynamics. To conceptualize images of blood as assemblages that perform and express affective intensities, connecting with social and discursive formations, the thesis combines the actor-network approach of Bruno Latour with the philosophy of Deleuze and Guattari. These blood assemblages are themselves transformative and transient material constellations, performed through multitudes of relational factors. The study elaborates a methodology that traces how images are historically constituted and operate in concrete material, economical, cultural and social settings. As such, this dissertation makes a unique theoretical and methodological contribution by focusing on the constitution and performance of affective potentials of images, as well as on how these potentials are actualized in encounters with audiences. In this regard, the study presents concepts and methodological approaches of wider relevance to media and communication and cultural studies.
Author: Deborah Barker Publisher: University of Georgia Press ISBN: 0820337242 Category : Literary Criticism Languages : en Pages : 374
Book Description
"Placing the New Southern Studies in conversation with film studies, this book is simply the best edited collection available on film and the U.S. South.---Grace Hale. University of Virginia --
Author: Maria M. Delgado Publisher: John Wiley & Sons ISBN: 1118557522 Category : Performing Arts Languages : en Pages : 560
Book Description
A Companion to Latin American Cinema offers a wide-ranging collection of newly commissioned essays and interviews that explore the ways in which Latin American cinema has established itself on the international film scene in the twenty-first century. Features contributions from international critics, historians, and scholars, along with interviews with acclaimed Latin American film directors Includes essays on the Latin American film industry, as well as the interactions between TV and documentary production with feature film culture Covers several up-and-coming regions of film activity such as nations in Central America Offers novel insights into Latin American cinema based on new methodologies, such as the quantitative approach, and essays contributed by practitioners as well as theorists
Author: Carolyn Fornoff Publisher: State University of New York Press ISBN: 1438484054 Category : Performing Arts Languages : en Pages : 433
Book Description
Pushing Past the Human in Latin American Cinema brings together fourteen scholars to analyze Latin American cinema in dialogue with recent theories of posthumanism and ecocriticism. Together they grapple with how Latin American filmmakers have attempted to "push past the human," and destabilize the myth of anthropocentric exceptionalism that has historically been privileged by cinema and has led to the current climate crisis. While some chapters question the very nature of this enterprise—whether cinema should or even could actualize such a maneuver beyond the human—others signal the ways in which the category of the "human" itself is interrogated by Latin American cinema, revealed to be a fiction that excludes more than it unifies. This volume explores how the moving image reinforces or contests the division between human and nonhuman, and troubles the settler epistemic partition of culture and nature that is at the core of the climate crisis. As the first volume to specifically address how such questions are staged by Latin American cinema, this book brings together analysis of films that respond to environmental degradation, as well as those that articulate a posthumanist ethos that blurs the line between species.
Author: Asbjørn Grønstad Publisher: Amsterdam University Press ISBN: 908964010X Category : Performing Arts Languages : en Pages : 278
Book Description
In many senses, viewers have cut their teeth on the violence in American cinema: from Anthony Perkins slashing Janet Leigh in the most infamous of shower scenes; to the 1970s masterpieces of Martin Scorsese, Sam Peckinpah and Francis Ford Coppola; to our present-day undertakings in imagining global annihilations through terrorism, war, and alien grudges. Transfigurations brings our cultural obsession with film violence into a renewed dialogue with contemporary theory. Grønstad argues that the use of violence in Hollywood films should be understood semiotically rather than viewed realistically; Tranfigurations thus alters both our methodology of reading violence in films and the meanings we assign to them, depicting violence not as a self-contained incident, but as a convoluted network of our own cultural ideologies and beliefs.
Author: Thomas J. Cobb Publisher: Springer Nature ISBN: 3030426785 Category : Performing Arts Languages : en Pages : 270
Book Description
This book contends that Hollywood films help illuminate the incongruities of various periods in American diplomacy. From the war film Bataan to the Revisionist Western The Wild Bunch, cinema has long reflected US foreign policy’s divisiveness both directly and allegorically. Beginning with the 1990s presidential drama The American President and concluding with Joker’s allegorical treatment of the Trump era, this book posits that the paradigms for political reflection are shifting in American film, from explicit subtexts surrounding US statecraft to covert representations of diplomatic disarray. It further argues that the International Relations theorist Walter Mead’s concept of a US polity dominated by contesting beliefs, or a ‘kaleidoscope’, permeates these changing paradigms. This synergy reveals a cultural milieu where foreign policy fissures are increasingly encoded by cinematic representation. The interdisciplinarity of this focus renders this book pertinent reading for scholars and students of American Studies, Film Studies and International Relations, along with those generally interested in Hollywood filmmakers and foreign policy.
Author: Kjetil Rødje
Author: Kjetil Rødje
Author: Kjetil Rødje
Author: Kjetil Rodje
Author: Kjetil Rodje
Author: Deborah Barker
Author: Maria M. Delgado
Author: J. David Slocum
Author: Carolyn Fornoff
Author: Asbjørn Grønstad
Author: Thomas J. Cobb