Products related to Film:
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Film-Induced Tourism
This research-based monograph presents an introduction to the concept of film-induced tourism, building on the work of the seminal first edition.Many new case studies exploring the relationship between film and TV and tourism have been added and existing cases have been updated.The book incorporates studies on film studio theme parks, the impact of film-induced tourism on communities and the effect of film on tourists’ behaviour.It introduces new content including film-induced tourism in non-Western cultures, movie tours and contents tourism.The book is an essential resource for postgraduate students and researchers in the fields of tourism, film and media studies.
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History on Film/Film on History
History on Film/Film on History has established itself as a classic treatise on the historical film and its role in bringing the past to life.In the third edition of this widely acclaimed text, Robert A.Rosenstone argues that to leave history films out of the discussion of the meaning of the past is to ignore a major means of understanding historical events.This book examines what history films convey about the past and how they convey it, demonstrating the need to learn how to read and understand this new visual world and integrating detailed analysis of films such as Schindler’s List, Glory, October, and Reds.Advocating for the dramatic feature as a legitimate way of doing history, this edition includes a new introduction, a revised final chapter, a new epilogue that discusses recent history films such as Selma and The Imitation Game, and an extensive and updated guide to further reading.Examining the codes and conventions of how these films tell us about the past and providing guidance on how to effectively analyse films as historical interpretations, this book is an essential introduction to the field for students of history and film.
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Film History and Screen Culture in and beyond Greater China
Bringing together work from established and emerging scholars and practitioners from around the world, this collection expands existing scholarship on cinemas of the Sinosphere by revealing forgotten and emerging aspects of film history. Organised chronologically, individual chapters cover geographic regions of mainland China, Hong Kong, and Taiwan to engage with key issues of film history and screen politics that are overlooked by the traditional canon of Chinese cinema.Tackling key debates on (post)colonialism, (cold)war, and their sociopolitical impacts on screen culture in these regions, this collection challenges the binary paradigms that are perpetuated in the historical scholarship of Chinese cinema, such as left-wing and right-wing cinema, commercial entertainment and political propaganda films, and mass consumption of genre films versus the critical acclaim of New Wave auteurism.Together, the essays reveal the cultural mobility across different geographic and sociopolitical borders, their intertwined experience of the past, and historical events’ impact on contemporary filmmaking and screen cultures. This collection will be of interest to students and researchers of Film, Media, and Cultural Studies as well as Asian Studies and Chinese Studies.
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Film, Form, and Culture
This fifth edition of Film, Form, and Culture offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative.Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture.Over 265 images provide a visual index to the films and issues being discussed.This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). This textbook is an invaluable and exciting resource for students beginning film studies at undergraduate level. Additional resources for students and teachers can be found on the eResource, which includes case studies, discussion questions, and links to useful websites.
Price: 56.99 £ | Shipping*: 0.00 £
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Should one use sun protection film or car film in an attic apartment?
It is advisable to use sun protection film in an attic apartment rather than car film. Sun protection film is specifically designed to block harmful UV rays and reduce heat from the sun, which can help to keep the attic apartment cooler and more comfortable. Car film, on the other hand, is designed for use on car windows and may not provide the same level of UV protection or heat reduction as sun protection film. Therefore, it is best to use sun protection film to effectively protect the attic apartment from the sun's heat and UV rays.
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What is your opinion on the current film culture?
I believe that the current film culture is diverse and dynamic, with a wide range of genres and styles being explored by filmmakers. There is a growing emphasis on representation and diversity in storytelling, which is leading to more inclusive and authentic narratives being told on screen. Additionally, the rise of streaming platforms has provided more opportunities for independent filmmakers to showcase their work and reach a wider audience. Overall, I think the current film culture is exciting and evolving, with a lot of potential for innovation and creativity.
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Can you film the sun with the camera?
No, it is not safe to film the sun directly with a camera as it can damage the camera's sensor and the eyes of the person operating the camera. However, there are special filters and techniques that can be used to safely capture the sun's image with a camera. It is important to use proper equipment and precautions when attempting to film the sun to avoid any damage or harm.
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Does it work to stack window sun protection film?
Yes, it is possible to stack window sun protection film to increase its effectiveness. By adding multiple layers of film, you can further reduce the amount of heat and UV rays that enter the space, providing better protection and insulation. However, it is important to ensure that the window frames and glass can support the additional weight and that the stacked layers do not obstruct the window's functionality. Additionally, it is advisable to consult with a professional to ensure that the stacking of window sun protection film is done correctly and safely.
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Film, In Theory : The BFI Education Department and Film Culture
Film, in Theory tells the story of Paddy Whannel and Peter Wollen's revolutionary work at the BFI’s Education Department and how this led to the establishment of film studies, theory and education in Britain during the 1960s and 1970s. Colm McAuliffe explores how Whannel and Wollen worked together to re-fashion the BFI as a modern and progressive laboratory of ideas, hosting experimental seminars, revamping BFI Summer Schools, and launching the Cinema One series (co-edited by Whannel and Penelope Houston, editor of Sight & Sound magazine).Through extensive archival research and interviews with key figures, McAuliffe explores how the department became "a crucible for the future of film theory."He recounts how they transformed Screen from a teachers' journal into a theoretical publication, where a form of feminist film critique, led by Claire Johnston and Laura Mulvey, emerged.Johnston, Mulvey, and other feminist theorists were integral to the formation of a women's counter-cinema and, alongside Whannel and Wollen, sparked not just the birth of film studies, but an intellectual revolution.This book traces contemporary critiques of normativity—regarding race, gender, and sexuality—back to the heated debates that marked the opening up of film studies during the intellectually vibrant Sixties.
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A History of Narrative Film
Sophisticated in its analytical content, current in its coverage and informed throughout by fascinating historical and cultural contexts, A History of Narrative Film is one of the most respected and widely read texts in film studies.This fifth edition features a new chapter on twenty-first century film and includes refreshed coverage of contemporary digital production, distribution and consumption of film.Now 20% shorter, with new four-colour design and an updated art programme, A History of Narrative Film is also the only film history text available as an ebook.
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Postcolonial Film : History, Empire, Resistance
Postcolonial Film: History, Empire, Resistance examines films of the later twentieth and early twenty-first centuries from postcolonial countries around the globe.In the mid twentieth century, the political reality of resistance and decolonization lead to the creation of dozens of new states, forming a backdrop to films of that period.Towards the century’s end and at the dawn of the new millennium, film continues to form a site for interrogating colonization and decolonization, though against a backdrop that is now more neo-colonial than colonial and more culturally imperial than imperial.This volume explores how individual films emerged from and commented on postcolonial spaces and the building and breaking down of the European empire.Each chapter is a case study examining how a particular film from a postcolonial nation emerges from and reflects that nation’s unique postcolonial situation.This analysis of one nation’s struggle with its coloniality allows each essay to investigate just what it means to be postcolonial.
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Postmodern Vampires : Film, Fiction, and Popular Culture
Postmodern Vampires: Film, Fiction, and Popular Culture is the first major study to focus on American cultural history from the vampire’s point of view.Beginning in 1968, Ní Fhlainn argues that vampires move from the margins to the centre of popular culture as representatives of the anxieties and aspirations of their age.Mapping their literary and screen evolution on to the American Presidency, from Richard Nixon to Donald Trump, this essential critical study chronicles the vampire’s blood-ties to distinct socio-political movements and cultural decades in the late twentieth and early twenty-first centuries.Through case studies of key texts, including Interview with the Vampire, The Lost Boys, Blade, Twilight, Let Me In, True Blood and numerous adaptations of Dracula, this book reveals how vampires continue to be exemplary barometers of political and historical change in the American imagination.It is essential reading for scholars and students in Gothic and Horror Studies, Film Studies, and American Studies, and for anyone interested in the articulate undead.
Price: 139.99 £ | Shipping*: 0.00 £
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What was the first nude scene in film history?
The first nude scene in film history is believed to be in the 1915 silent film "Inspiration," directed by George Foster Platt. The film featured actress Audrey Munson, who was known as the first American actress to appear nude in a non-pornographic film. The scene caused quite a stir at the time and led to debates about censorship and artistic expression in film.
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Which film is the twin film?
The twin film of a particular movie is another film that shares similar themes, plot points, or visual elements. For example, the twin film of "Armageddon" is "Deep Impact," as both movies were released in 1998 and revolve around the threat of an asteroid hitting Earth. Twin films often arise due to coincidental similarities or because of studios rushing to capitalize on a popular trend in the film industry.
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Who is the best villain in film history for you?
For me, the best villain in film history is Heath Ledger's portrayal of the Joker in "The Dark Knight." Ledger's performance was captivating and chilling, bringing a new level of complexity and unpredictability to the character. The Joker's chaotic nature and twisted sense of humor made him a truly memorable and iconic villain that left a lasting impact on audiences. Ledger's dedication to the role and his ability to fully embody the character made him stand out as one of the greatest villains in cinematic history.
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What do you understand by the classification in film history?
Classification in film history refers to the categorization of films based on various criteria such as genre, style, period, or national origin. It helps scholars and audiences to understand the evolution of cinema, identify trends, and analyze the impact of different movements or filmmakers. By classifying films, we can also trace the development of storytelling techniques, visual aesthetics, and technological advancements in the film industry over time. This classification allows for a deeper appreciation and study of the diverse range of films that have been produced throughout history.
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