eBooks de Teoría y crítica del cine, página 2 de 12

The Innocence of Memories is an important addition to the oeuvre of Nobel Prize-winning author Orhan Pamuk. Comprised of the screenplay of the acclaimed film by Grant Gee from 2015 (by the same name), a transcript of the author and filmmaker in conversation, and captivating colour stills, it is an essential volume for understanding Pamuks work. Drawing on the themes from Pamuks best-selling books, The Museum of Innocence, Istanbul and The Black Book, this book is both an accompaniment to the authors previous publications and a wonderfully revelatory exploration of Orhan Pamuks key ideas about art, love, and memory.

Gordy LaSures passionate about film. He eats film, he drinks film, and sometimes hell even watch a film. But most of all he loves talking to people about film: whether a comely student with low confidence and a father complex, a Studio development exec who doesnt trust his own judgement, or the countless people Gordy LaSures encountered in his capacity as the web moderator on an Excessive Sweating Discussion Forum. Gordy LaSures alwaystalking about films and how theyd be a shit ton better if only people would pull their asses out of their ears and listen to Gordy LaSure. The voyage of this book can be categorised as an attempt to understand How In Hell Film Works. Why are some films bad, and some films terrible?How come just a handful of films (Titanic, Porkys, Dirty Harry) areany good at all? Gordyll tell you How and Why, and hell give you a slug of Wherefore on the side. And he doesnt shoot from the hip; he shoots from the gut.

The Erotic Screen takes as its starting point that Hollywood movies were steeped in eroticism from the beginning but censorship forced filmmakers to devise hidden sexual subtexts to preserve a films subliminal eroticism. In this way, Hollywood films seed our collective psyches with unconscious subtexts. Science fiction films are particularly effective, using horror to induce sexual excitement, as studied in Part I: The nature of desire in a trio of science fiction thrillers. Another device was to display unrestricted consumption of alcohol and tobacco and gratuitous spending. Today, this is a cliche of mainstream cinema but some filmmakers expose the dark underbelly. The five films scrutinized in Part II: Portraits of addiction in Hollywood melodrama make explicit the connections between greed, addictions, and sexuality. Finally, in Part III: Perverse desire in mainstream cinema, the nuanced position toward the psychosexual obsessions on view in the films is investigated by posing the provocative question of whether S&M practice can work as a "cure" for psychic suffering, by raising the alarm over sexuality run amok in a suburban community, and by offering a devastating critique of voyeurisms "fatal attraction" to viewers. The Erotic Screen is an investigation of the nature of human sexuality through the medium of film. It stirs up discussion and debate - and helps these movies live on in our minds.

El deslinde de los estratos de significación del término cultura (burguesa, de élite, de masa), deliberadamente enajenados de sus esencias profundas por la manipulación capitalista, constituye una notable empresa de este titulo. Perfilar las fronteras entre ellos, desde la perspectiva del espacio de autenticidad que es la cultura popular, lanza un desafio a la conciencia social, abriendole un camino de comprension sobre las implicaciones reales de una terminologia elaborada desde los centros de poder para anular y suplantar a la cultura autentica, que es la creada por el pueblo, por las clases bajas o subalternas, al decir de Adolfo Colombres. Se trata de una reflexion sobre la cultura popular y la posibilidad de teorizarla desde la perspectiva critica y emancipadora de las capas sociales subalternas, con el proposito fundamental de dimensionar las expresiones artisticas del pueblo frente a los intentos de sustituirlas por una literatura para el pueblo. Como parte de los complejos procesos que condicionan la cultura popular, se abordan temas como el lenguaje y el sistema de la oralidad, las especificidades teoricas de la cultura en Nuestra America, el papel de los medios de comunicacion, el folklore, las politicas y estrategias sociales, la diversidad cultural, la dialectica entre identidad y globalizacion, y otros topicos que problematizan la vision que sobre estos temas pretenden imponer los discursos hegemonicos.

O período que engloba os anos de 1977, 1978 e 1979 pode visto como um tempo de indefinições no cinema brasileiro, o que se deve à inexistência de um movimento catalisador, como o Cinema Novo foi na d

¿Qué es el amor? ¿Qué significados tiene? Y ¿dónde lo encontramos?El amor a través de un fabuloso recorrido cinematográfico de 100 películas.Cien son las premisas que encontramos en este libro, y cada una de ellas es una afirmacion sobre los poderes o caracteristicas que tiene el amor, justificada a traves de la cultura. Partiendo de 100 peliculas y de otras tantas obras literarias de referencia, el autor nos argumenta por que el amor es el sentimiento mas poderoso del ser humano. A partir de peliculas tan celebres como Casablanca, El ultimo tango en Paris, Jules y Jim, Secretos de un matrimonio o Hiroshima, mon amour; tan sugerentes como Lolita, Bella de dia, Infiel o El imperio de los sentidos; tan asequibles como Los amantes del circulo polar, Delitos y faltas o Los puentes de Madison, este es un libro que recorre un paisaje cinematografico apto para todos los publicos y que enriquecera, gracias a sus multiples niveles de lectura, a cualquiera que se le acerque. En una muestra de dominio cultural impresionante, Cesar Antonio Molina nos sumerge en un mar de dudas con sus respuestas, totalmente argumentadas y deliciosamente plasmadas a traves del analisis de obras cinematograficas de primer nivel.

Hollywood es un mundo peculiar de creatividad, poder, glamour y desencanto. Un paisaje propicio a la crisis, también espiritual, donde se dan cita judíos y católicos, ortodoxos, protestantes o mormones. Durante su "epoca dorada", no pocos vivieron una honda experiencia religiosa, en torno a la Iglesia Catolica. La autora ha recogido doce retratos de algunas de las grandes estrellas de la historia del cine, que proporcionan nuevos matices sobre su verdadera personalidad.

Lange Zeit von den Sozial- und Kulturwissenschaften ignoriert und als bloe Mainstream-Unterhaltung stigmatisiert, erlangt der Sportfilm zunehmend wissenschaftliche Aufmerksamkeit. Der interdisziplinar angelegte Band verdeutlicht das vielfaltige und vielschichtige, gleichwohl noch nicht annahernd ausgeschopfte wissenschaftliche Analyse- und Reflexionspotenzial des Sportfilms. Die Beitrage der national und international renommierten Autorinnen und Autoren fokussieren im Besonderen den Sportspielfilm mit seinen zahlreichen Subgenres wie Football-, Basketball-, Box-, Olympia- und Kampfsportfilm. Das steigende Interesse am Sportfilm resultiert aus der wachsenden Einsicht, dass es sich hierbei um ein Genre handelt, das pointiert gesellschaftliche Zustande, kulturelle Ideologien sowie politisch-okonomische Strukturen reflektiert und kritisiert. Der Sportfilm thematisiert historische Ereignisse, gesellschaftliche Entwicklungen wie auch individuelle und kollektive (Anti-)Helden. Er gibt Aufschluss uber kulturspezifische Besonderheiten des Sports und dessen Verflechtung mit anderen gesellschaftlichen Handlungsfeldern. Daruber hinaus inszeniert er zeitgeisttypische und zugleich allgemeingultige (Korper-)Ideale, Werte, Konflikt- und Handlungsmuster. Der Sportfilm reproduziert damit nicht nur gesellschaftliche und sportliche Wirklichkeit, sondern konstruiert sie im Medium einer emotional wirkmachtigen Bildsprache gleichermaen mit.

Australian and New Zealand crime and thriller writing is booming globally, with antipodean authors regularly featuring on awards and bestseller lists across Europe and North America, and overseas readers and publishers looking more and more to tales from lands Down Under.Hailing from two sparsely populated nations on the far edge of the former Empire - neighbours that are siblings in spirit, vastly different in landscape - Australian and New Zealand crime writers offer readers a blend of exotic and familiar, seasoned by distinctive senses of place, outlook, and humour, and roots that trace to the earliest days of our genre.Southern Cross Crime is the first comprehensive guide to modern Australian and New Zealand crime writing. From coastal cities to the Outback, leading critic Craig Sisterson showcases key titles from more than 200 storytellers, plus screen dramas ranging from Mystery Road to Top of the Lake. Fascinating insights are added through in-depth interviews with some of the prime suspects who paved the way or instigated the global boom, including Jane Harper, Michael Robotham, Paul Cleave, Emma Viskic, Paul Thomas, and Candice Fox.

For over 50 years, Albert R. Broccolis Eon Productions has navigated the ups and downs of the volatile British film industry, enduring both critical wrath and acclaim in equal measure for its now legendary James Bond series. Latterly, this family run business has been crowned with box office gold and recognised by motion picture academies around the world. However, it has not always been plain sailing.Changing financial regimes forced 007 to relocate to France and Mexico; changing fashions and politics led to box office disappointments; and changing studio regimes and business disputes all but killed the franchise. And the rise of competing action heroes has constantly questioned Bonds place in popular culture.But against all odds the filmmakers continue to wring new life from the series, and 2012s Skyfall saw both huge critical and commercial success, crowning 007 as the undisputed king of the action genre. Some Kind of Hero recounts this remarkable story, from its origins in the early 60s right through to the present day, and draws on hundreds of unpublished interviews with the cast and crew of this iconic series.

O que dizer de uma sociedade tecnológica em que vida e virtualidade coexistem expandindo o sentido de realidade? O livro Sociedade Tecnológica aborda como a perspectiva proporcionada pela realidade aumentada na mise-en-scene do seculo XXI pode transformar a dialetica, a estetica e a experiencia filmica. As pessoas se conectam aos ambientes tecnologicos a fim de tornar a propria existencia mais satisfatoria. Com o auxilio de uma tecnologia que permite exprimir diversos tipos de ausencias inerentes ao querer de cada individuo, a categoria de audiovisuais em estudo ilustra um tipo de cinema que se prope a ultrapassar a fronteira de compreenso e expandir o sentido de realidade.Talvez, ao ensaiar apariçes do querer, eles busquem delinear as verdades, tal qual descrito por Immanuel Kant, Martin Heidegger e Michel Foucault, nem sempre conscientes. A argumentaço pauta-se nas lacunas presentes em modalidades de comunidades futuristas representadas na tela, sob a otica dos textos de Gilles Lipovetsky, mais especificamente na vida de seus protagonistas. Assim como Hans Ulrich Gumbrecht aposta na potencia da presença, a tecnologia torna tangiveis elementos que existem, por vezes, na ausencia.A tangibilidade de sujeitos e objetos, apoiada nos conceitos propostos por Robert Azuma, Doug Bowman e Paul Milgran, incita a discusso: como a realidade aumentada transforma as sociedades futuristas do cinema digital? O entendimento das propostas de supercinema e no cinema se dispe a explicar. As ideias de Ismael Xavier, Lev Manovich e William Brown subsidiam a releitura dos fundamentos cinematograficos.Estara o cinema estabelecendo uma nova fronteira de entendimento da imperfeiço, seja do corpo, do mundo, da existencia? De que forma a dialetica tecnologica trata o embate com o grotesco, com o lado que se esconde ou que no se aceita? Ao evocar o enigma do desconhecido, pode a setima arte em sua roupagem digital elucidar como lidar com o que ainda no existe, com o inusitado, com o estranho? Por explorar questes atemporais em uma linguagem contemporanea, esta obra e indicada a todos que se interessam por tecnologia, cinema, bem como ao conhecimento humano sob a luz das artes, da educaço e da sociologia.

En la presente obra se ilustra, de manera fotográfica, la trayectoria del proyecto sociocultural Entre hilos, alas y pinceles, que agrupa alrededor de veinte artesanas-artistas de la ciudad de Trinidad, lideradas por Yudit Vidal Faife, y que trabaja una tecnica ancestral en Trinidad, de Cuba, desde la antiguedad hasta su devenir contemporaneo, destacandose las tecnicas del deshilado, bordado y tejido a mano, fundidas con el pincel, y aplicando el trabajo a nuevos soportes y tecnicas artisticas, lograndose un cambio de contexto de las piezas, que resultan dignificadas, al dejar de ser unicamente utilitarias, para convertirse, de forma autonoma, en obras de arte en si mismas. A traves de este libro se rinde un sencillo homenaje a todas aquellas artesanas que supieron, en su tiempo promover y enseñar a varias generaciones la tradicion del hilo y la aguja, las que lograron hacer de este delicado trabajo el sustento y la principal fuente economica de varias familias. Cada obra es en ejemplo de identidad cultural de Trinidad, Patrimonio de la Humanidad, proclamada Ciudad Artesanal del Mundo por el Consejo Mundial de Artesanias y Ciudad Creativa, titulo conferido por la UNESCO.

Este libro plantea un estudio comparativo de representaciones de asesinos a sueldo en películas producidas o ambientadas en Brasil, Colombia, España y México de 1995 a 2015. En el recorrido interdisciplinario por estas narrativas filmicas de violencia se observa la evolucion de los extremos cambios socioeconomicos de las ultimas decadas y el modo en el que se ha impuesto el ideal de supuesto progreso basado en politicas que han fomentado la privatizacion de bienes y empresas publicas por parte de muchos Estados.Se estudia la polisemia del sicario adulto dentro del marco de la familia, atendiendo a su conformacion ideologica y estetica en la era de la globalizacion y el neoliberalismo. La reevaluacion de este corpus cinematografico cuestiona la aparente despolitizacion de muchas de estas peliculas que son caracterizadas habitualmente como meras producciones de suspense o de accion subrayando asi el impacto sociocultural de su conjunto. Dado su enfoque transatlantico, se combina un acercamiento a industrias cinematograficas tanto de America Latina como de España que da como resultado una obra que ofrece material novedoso de consulta para especialistas, pero tambien para los que se acercan por primera vez a estas tematicas

"PELO AMOR DE DEUS, O QUE ISSO SIGNIFICA?"Quando Miss Mary Mortan chega ao 221B em Baker Street, a história "inexplicável" que ela conta mexe com o coração do Dr. John Watson e desperta seu amigo She

Um clássico da historiografia do cinema mundial no Brasil, Sétima arte aborda a afirmação do cinema como forma de arte e o porquê de sua acolhida pelos modernos como uma linguagem de expressão artíst

Francisco Rabal actuó en películas de grandes directores internacionales durante una época en la que resultaba insólito que un intérprete español tuviera un papel preponderante en cinematografías extranjeras formal e ideologicamente innovadoras. Alcanzo la cima profesional cuando su protagonismo en dos historicas obras de Luis Buñuel practicamente coincidio con su trabajo a las ordenes de Antonioni. Este volumen recoge las circunstancias profesionales y personales en las que desarrollo su trayectoria internacional. Contrasta informacion de origen muy diverso, como su correspondencia o diversas entrevistas a profesionales del cine que compartieron rodaje y vida con el, ademas de abundante material grafico y periodistico. Un analisis de su trabajo interpretativo nos permitira desentrañar algunas claves sobre su insaciable sed de aprendizaje y experiencia, su sed de mas.

An in-depth study of the worlds only aikido instructor turned movie star/director/writer/blues guitarist/energy drink inventor, the ass-kicking auteur Steven Seagal. The hilarious "instant cult classic", hailed by the New York Post, Entertainment Weekly and even Time magazine, is back, updated and extended with 10 new chapters! Brand new material includes Verns hilarious deconstruction of Seagals appearance in the Robert Rodriguez movie Machete, and coverage of Seagals own hit reality TV show, Lawman.

The secret of writing a successful screenplay is sought after by ever-growing numbers of scribes and enthusiasts. Screenwriters Masterclass offers state-of-the-art advice in that line, through interviews with nineteen of the leading scriptwriters of our day whose insights are invaluable to any aspirant.Each interview guides the reader entertainingly through the creation process of the film; how the writer handled the painstaking process of creating a three-dimensional world out of their imagination; what worked - and what didnt - in the finished film; and, most importantly, why that was so. In the process, each interview is a valuable case history, offering film buffs an uncommon glimpse behind the scenes of cinema: from Oscar-winner Ted Tally, recounting life on-set with Jodie Foster and Hannibal the Cannibal on The Silence of the Lambs, to Robert Wade and Neil Purvis coming up with new ways for James Bond to Die Another Day.Represented alongside the Hollywood pros are the leading screenwriters from the US independent and European scenes, including some of the most inspiring new talents in film: from Carlos Cuaron (Y Tu Mama Tambien) and Chris Weitz (About a Boy) to Wes Anderson (Rushmore) and Alex Garland (28 Days Later).

With contributions from Ozcan Alper, Damir Arsenijevic, Friederike Bassenge, Alen Drljevic, Andreas Hamburger, Camellia Hancheva, Dzenana Husremovic, Lars Kraume, Dijana Jelaca, Ajna Jusic, Cem Kaptanoglu, Stephan Komandarev, Maida Koso-Drljevic, Nadia Kozhouharova, Gamze Ozcurumez, Tatjana Petzer, Vivian Pramataroff-Hamburger, Goran Radovanovic, Biljana Stankovic, Svetlozar Vassilev, and Jasmila zbanic. In the last decade, the concept of trauma has experienced a surprising boom in sociological and media debates. In a culture of outrage, blanket narratives of victimhood often overshadow the concrete, known social violations and their observable real economic and psychological consequences. The aim of this volume is to reflect on this shift in discourse and to compare it with the concrete historical backgrounds and psychosocial constitutions of countries that have been haunted by social trauma in different ways. In discussing feature films from Germany and four Balkan countries, the book presents the distinct social-traumatic histories, how they are negotiated in different societies, and the motifs cinema uses to narrate them. The award-winning films featured are Sadilishteto [The Judgement], Grbavica [Esmas Secret - Grbavica], Muskarci ne placu [Men Dont Cry], Enklava [Enclave], Der Staat gegen Fritz Bauer [The People vs. Fritz Bauer], and Sonbahar [Autumn]. The individual film analyses are each accompanied by interviews with the filmmakers and introduced by overarching themes, the role of cinema as a place of social understanding in a post-traumatic society, and the methodology of film analysis. With contributions from the worlds of film, psychoanalysis, activism, psychiatry, film studies, literary and cultural studies, psychology, trauma studies, philosophy, psychotherapy, and human relations, this book has a broad appeal. It is a must-read for those looking for a deeper insight into social trauma and the impact of sociocultural factors, shown so clearly through the filmmakers lens.

With contributions from Ozcan Alper, Damir Arsenijevic, Friederike Bassenge, Alen Drljevic, Andreas Hamburger, Camellia Hancheva, Dzenana Husremovic, Lars Kraume, Dijana Jelaca, Ajna Jusic, Cem Kaptanoglu, Stephan Komandarev, Maida Koso-Drljevic, Nadia Kozhouharova, Gamze Ozcurumez, Tatjana Petzer, Vivian Pramataroff-Hamburger, Goran Radovanovic, Biljana Stankovic, Svetlozar Vassilev, and Jasmila zbanic. In the last decade, the concept of trauma has experienced a surprising boom in sociological and media debates. In a culture of outrage, blanket narratives of victimhood often overshadow the concrete, known social violations and their observable real economic and psychological consequences. The aim of this volume is to reflect on this shift in discourse and to compare it with the concrete historical backgrounds and psychosocial constitutions of countries that have been haunted by social trauma in different ways. In discussing feature films from Germany and four Balkan countries, the book presents the distinct social-traumatic histories, how they are negotiated in different societies, and the motifs cinema uses to narrate them. The award-winning films featured are Sadilishteto [The Judgement], Grbavica [Esmas Secret - Grbavica], Muskarci ne placu [Men Dont Cry], Enklava [Enclave], Der Staat gegen Fritz Bauer [The People vs. Fritz Bauer], and Sonbahar [Autumn]. The individual film analyses are each accompanied by interviews with the filmmakers and introduced by overarching themes, the role of cinema as a place of social understanding in a post-traumatic society, and the methodology of film analysis. With contributions from the worlds of film, psychoanalysis, activism, psychiatry, film studies, literary and cultural studies, psychology, trauma studies, philosophy, psychotherapy, and human relations, this book has a broad appeal. It is a must-read for those looking for a deeper insight into social trauma and the impact of sociocultural factors, shown so clearly through the filmmakers lens.