2015 Columbia UP Film Studies Catalogue

Film Studies New and Noteworthy Titles 2015

letter from the editor We’re very excited to share with you the Columbia University Press Film Studies catalog for 2015. These titles reflect the continuing excellence of the Film and Culture Series, edited by John Belton, and our growing list of titles in film history, film theory, and the future of film in the digital age.

Cinema’s future and past are taken up in three new books: André Gaudreault and Philippe Maron’s The End of Cinema? A Medium in Crisis in the Digital Age offers a middle ground between “digitalphobes” and “digitalphiles” to look at cinema’s digital revolution and its central place in a rapidly expanding media landscape. Providing a historical and theoretical perspective, Francesco Casetti’s The Lumière Galaxy: Seven Key Words for the Cinema to Come considers cinema’s place in our lives and culture. Adam Lowenstein also puts past and present together in Dreaming of Cinema: Spectatorship, Surrealism, and the Age of Digital Media by returning to the surrealist movement to understand how new technologies affect cinema’s special capacity to record the real.

Our recent titles in film history span the twentieth century and examine various aspects of and turning points in the history of Hollywood. Michael Slowik’s After the Silents: Hollywood Film Music in the Early Sound Era, 1926–1934 launches the first comprehensive study of a long-neglected phase in Hollywood's initial development, recasting the history of film sound and its relationship to the "Golden Age" of film music. The remarkable collaboration between Charles Brackett and Billy Wilder is captured in “It’s the Pictures That Got Small,” edited by Anthony Slide. This annotated collection of writings from Brackett’s unpublished diaries deepens our understanding of Wilder’s work and gives us a behind-the-scenes look at midcentury Hollywood (and some choice gossip!). Looking beyond Hollywood’s “Golden Age,” Julie Turnock tracks the use, evolution, and impact of special effects in 1970s filmmaking in Plastic Reality: Special Effects, Technology, and the Emergence of 1970s Blockbuster Aesthetics.

The intersection of film and philosophy is reflected in two new books. Film Worlds: A Philosophical Aesthetics of Cinema, by Daniel Yacavone, draws on continental and analytic philosophy in an innovative discussion of cinema’s affective and symbolic dimensions. Lutz Koepnick’s On Slowness: Toward an Aesthetic of the Contemporary looks at film and video art to present a counterintuitive take on the deceleration of time and its function in contemporary art and culture.

Other recent books cover directors, film cultures, and movements, from Maya Deren: Incomplete Control,

by Sarah Keller, and Bollywood’s India: A Public Fantasy, by Priya Joshi, to Motion(less) Pictures: The Cinema of Stasis by Justin Remes and Deathwatch: American Film Technology and the End of Life, by C. Scott Combs.

Wallflower Press, an imprint of Columbia University Press, continues to publish an impressive range of film books through various series, including Directors’ Cuts, Short Cuts, and Cultographies. In particular, we want to draw your attention to: Flickering Empire: How Chicago Invented the U.S. Film Industry by Michael Glover Smith and Adam Selzer; The Gangster Film: Fatal Success in American Cinema, by Ron Wilson; The Cinema of Clint Eastwood, by David Sterritt, and Latin Hitchcock, by Don Kercher. Finally, we are also proud to distribute film books published by Austrian Film Museum Books, Auteur Publishing, Hong Kong University Press, and Transcript Verlag.

We hope you share our excitement about these new books, Sincerely, Jennifer Crewe, director, Columbia University Press / Philip Leventhal, editor for film studies 2

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CONTENTS Film and Culture Series..................................4 Film & Media Criticism .................................11 Short Cuts (Wallflower).................................19 Cultographies (Wallflower)...........................22 Auteur Publishing..........................................24 Splice (Auteur) ............................................26 Film Directors ............................................. .27 Ordering Information....................................31

Manuscript queries and proposals can be sent to the Film Studies editor, Philip Leventhal at pl2164@ columbia.edu For a complete listing of Columbia’s titles or for more information about any book in this catalog, visit our web site: www.cup.columbia.edu

The Lumière Galaxy

Seven Key Words for the Cinema to Come Francesco Casetti Page 4

DREAMING OF CINEMA

Spectatorship, Surrealism, and the Age of Digital Media ADAM LOWENSTEIN

Dreaming of Cinema

Spectatorship, Surrealism, and the Age of Digital Media

Wallflower Press is an imprint of Columbia University Press.

Adam Lowenstein Page 5

To order Auteur Publishing books outside of the United States, Canada and Latin America, please contact Auteur Publishing directly at: www.auteur.co.uk Most titles in this catalog published

by Columbia University Press are available worldwide from the Press.

Titles published by Hong Kong University Press, Transcript-Verlag, Ibidem Press, and Auteur Press are available from Columbia only in the United States and Latin America.

The Cinema of the Coen Brothers Hard-Boiled Entertainments Jeffrey Adams page 24

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COLUMBIA UNIVERSITY PRESS (Film and Culture Series) The Film and Culture series publishes books that integrate recent work in cultural theory with film historiography, especially with work that engages with primary research materials, in an effort to see how films are embedded within specific social, historical, and cultural contexts. Series Editor — John Belton AND A USE M T H E O F C INa toEthe Present Er eimar SE A B U gacies from the W H L E R an Le

Germ

E R IC

REN

TSC

The Use and Abuse of Cinema

German Legacies from the Weimar Era to the Present Eric Rentschler

“Rentschler’s command of individual filmmakers’ oeuvres, from the unjustly forgotten and overlooked to the internationally recognized and celebrated auteurs, and of historical periods from the silents to the evolving present is as impressive as his ability to ‘drill down’ analytically and uncover significant details, motifs, or patterns.”

—Johannes von Moltke, University of Michigan

Balancing history and theory in his readings, Rentschler discusses critics and theorists such as Siegfried Kracauer and Rudolf Arnheim; key New German directors such as Rainer Werner Fassbinder and Alexander Kluge; and films from the so-called Berlin School, particularly those of Christoph Hochhäusler, Thomas Arslan, and Christian Petzold.

The Lumière Galaxy

Seven Key Words for the Cinema to Come Francesco Casetti

“Strikingly original. Casetti shifts the focus to the viewer’s experience of the moving image in the new media landscape, offering a much needed riposte to those who have proclaimed cinema dead.”

—Malcolm Turvey, Sarah Lawrence College

Francesco Casetti travels from the remote corners of film history and theory to the most surprising sites on the Internet and in our cities to prove the ongoing relevance of cinema. He does away with notions of canon, repetition, apparatus, and spectatorship in favor of expansion, relocation, assemblage, and performance. The result is an innovative understanding of cinema’s place in our lives and culture, along with a sea change in the study of the art. $30.00 / £20.50 paper 978-0-231-17243-1 $90.00 / £62.00 cloth 978-0-231-17242-4 2015 304 pages

$30.00 / £20.50 paper 978-0-231-07363-9 $90.00 / £62.00 cloth 978-0-231-07362-2 2015 400 pages / 87 illus.

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FILM AND CULTURE SERIES DREAMING OF CINEMA

Spectatorship, Surrealism, and the Age of Digital Media ADAM LOWENSTEIN

Dreaming of Cinema

Maya Deren

Spectatorship, Surrealism, and the Age of Digital Media

Incomplete Control

Sarah Keller

Adam Lowenstein "This highly imaginative and innovative book stages a dialogue between the theory and practice of surrealism and film spectatorship in the digital age. Following the critical and creative pathways of surrealist thought, it argues for a expanded sense both of the medium of cinema and of the forms of spectatorship that cinema yields, and it finds the promise of surrealism alive in contemporary media practices."

—Richard Allen, New York University

“Lowenstein turns technological teleology on its head, arguing that new media studies urgently needs a theory of cinema—both what it was and what it continues to be.”

— Karl Schoonover, University of Warwick

"A tour-de-force of historical and critical scholarship that explores new primary research material from Maya Deren's voluminous and complex archive in order to assert the significance of incompletion and process as central to Deren's artistic and intellectual production. Keller's clear, erudite prose offers brilliant new readings of Deren's extant films, including canonical works like Meshes of the Afternoon, and comprehensively explores Deren's incomplete projects-films, research projects, writings-to draw out Deren's radical imaginings of art and culture."

-Michael Zryd, York University $30.00 / £20.50 paper 978-0-231-16221-0 $90.00 / £62.00 cloth 978-0-231-16220-3 2014 304 pages / 26 illus.

$30.00 / £20.50 paper 978-0-231-16657-7 $90.00 / £62.00 cloth 978-0-231-16656-0 2015 272 pages / 38 illus.

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FILM AND CULTURE SERIES Forthcoming September

Motion(less) Pictures

The Cinema of Stasis Justin Remes

"Unique in its emphasis on the single frame as the core of cinema, this book is one of the best books ever written about ‘experimental’ film."

—Michael Snow

Reading Andy Warhol’s Empire (1964), the Fluxus work Disappearing Music for Face (1965), Michael Snow’s So Is This (1982), and Derek Jarman’s Blue (1993), Justin Remes shows how motionless films collapse the boundaries among cinema, photography, painting, and literature. Analyzing furniture films, designed to be viewed partially or distractedly; protracted films, which use slow motion to impress stasis; textual films, which foreground the static display of letters and written words; and monochrome films, which display a field of monochrome color as their image, Remes maps the interrelations among movement, stillness, and duration and their complication of cinema’s conventional function and effects. $27.00 / £18.50 paper 978-0-231-16963-9 $85.00 / £58.50 cloth 978-0-231-16962-2

Studios Before the System Architecture, Technology, and the Emergence of Cinematic Space Brian R. Jacobson “An impressive, groundbreaking book that joins other recent revisionist works in offering an innovative notion of early cinema history that has invaluable ramifications for cinema history overall. Furthermore, it promises to make a considerable impact on the study of cinema's profound interrelations with architecture, modern technologies, and urban infrastructure at the beginnings of the 20th century."

—Richard Abel, University of Michigan

Focusing on six significant early film corporations in the United States and France— the Edison Manufacturing Company, American Mutoscope and Biograph, American Vitagraph, Georges Méliès's Star Films, Gaumont, and Pathé Frères—as well as smaller producers and film companies, Studios Before the System describes how filmmakers first envisioned the space they needed and then sourced modern materials to create novel film worlds. $30.00 / £20.50 paper 978-0-231-17281-3 $90.00 / £62.00 cloth 978-0-231-17280-6 September 2015 330 pages/ 50 illus.

2015 208 pages

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FILM AND CULTURE SERIES

"It's the Pictures That Got Small" Charles Brackett on Billy Wilder and Hollywood's Golden Age

The End of Cinema

A Medium in Crisis in the Digital Age André Gaudreault and Philippe Marion.

Anthony Slide, editor

Translated by Timothy Barnard

Foreword by Jim Moore

"Reading Charles Brackett’s diary entries is like stepping into a time machine. It provides a vivid and valuable account of day-to-day life in the heyday of Hollywood’s studio system and a bittersweet chronicle of his volatile relationship with Billy Wilder. I couldn’t put the book down."

"Anyone involved in the debates surrounding the shift from 35mm film stock to digital production practices and exhibition formats will need to confront André Gaudreault and Philippe Marion’s arguments. A provocative and timely book, the authors remind viewers that the “cinema” has never been a static technology."

-—Leonard Maltin

-—Richard Neupert, University of Georgia

"An indispensable guide to the complex, increasingly awkward relationship between two men who had next to nothing in common and yet contrived to make a fair number of the studio system's finest films."

Is a film watched on a video screen still cinema? Have digital compositing, motion capture, and other advanced technologies remade or obliterated the craft? Rooted in their hypothesis of the "double birth of media," André Gaudreault and Philippe Marion take a positive look at cinema's ongoing digital revolution and reaffirm its central place in a rapidly expanding media landscape.

-Commentary $34.95/ £23.95 cloth 978-0-231-16708-6 2 0 1 4 368 pages / 18 illus.

$30.95/ £20.50 paper 978-0-231-17357-5 $90.00/ £62.00 cloth 978-0-231-17356-8 2 0 1 5 256 pages / 6 illus.

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FILM AND CULTURE SERIES

After the Silents

Hollywood Film Music in the Early Sound Era, 1926-1934 Michael Slowik

“With a thorough investigation of hundreds of conversion-era feature films, Michael Slowik has provided an important revision of film music history to account for a wide range of scoring practices. After the Silents is impressive scholarship and a valuable resource for anyone with an interest in film sound."

—Jennifer Fleeger, author of Sounding American: Hollywood, Opera, and Jazz

Many believe Max Steiner's score for King Kong (1933) was the first important attempt at integrating background music into sound film, but a closer look at the industry's early sound era (1926-1934) reveals a more extended and fascinating story. Viewing more than two hundred films from the period, Michael Slowik launches the first comprehensive study of a long-neglected phase in Hollywood's initial development, recasting the history of film sound and its relationship to the "Golden Age" of film music (1935-1950).

Deathwatch

American Film, Technology, and the End of Life

C. Scott Combs “Exciting and brimming with original insights.

Given cinema's eternal fascination with death, coupled with film theory's obsessive need to explore the crossroads of photographic representation and the end of life, Combs's ambitious attempts to interweave these concerns are welcome and illuminating."

—Adam Lowenstein, author of Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film

“Combs shows that death in cinema is never just a random theme, but forms an essential aspect of a film's narrative structure and stylistics....One of the most impressive works I have read in recent years."

—Tom Gunning, author of The Films of Fritz Lang: Allegories of Vision and Modernity $30.00 / £20.50 paper 978-0-231-16347-7 $90.00 / £62.00 cloth 978-0-231-16346-0 2014 288 pages / 23 illus.

$30.00 / £20.50 paper 978-0-231-16583-9 $90.00 / £62.00 cloth 978-0-231-16582-2 2014 400 pages / 60 illus.

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FILM AND CULTURE SERIES

Cinematic Appeals

New Tunisian Cinema

The Experience of New Movie Technologies

Allegories of Resistance

Ariel Rogers

Robert Lang “Through subtle and rich close readings of eight films released between 1986 and 2006, Robert Lang examines how contemporary Tunisian filmmakers resisted authoritarianism in both the public and private spheres of their society and successfully forged a national cinema that sought to keep in sight the secular and modern vision of their country’s founding intellectuals.”

—Hakim Abderrezak, University of Minnesota

“The decoding of these films as allegories of political resistance is well argued and draws on an immense wealth of knowledge both theoretical and practical.”

“Ariel Rogers’s fascinating book looks at the affective addresses of technologically innovative periods in film history to explore the different notions of spectatorial embodiment these technologies provide, from the immersive participation of the widescreen era to the relative disembodiment of the fragmented and alienated spectator in the digital era. She has made an important intervention in the ongoing discussions of spectatorship and embodiment in the cinema that will determine the direction of future scholarship in those fields.”

— John Belton, Rutgers University $30.00 / £20.50 paper 978-0-231-15917-3 $90/00 / £62.00 cloth 978-0-231-15916-6 2013 352 pages / 68 illlus.

—Florence Martin, author of Screens and Veils $35.00 / £24.00 paper 978-0-231-16507-5 $105.00 / £72.50 cloth 978-0-231-16506-8 2014 448 pages / 44 illus.,

New in paper

Hollywood and Hitler, 1933-1939 Thomas Doherty

Named one of the Best Film Books of the Year by the Huffington Postide-

ranging and brightly written.”

— The New York Times Book Review $22.95 / £15.95 paper 978-0-231-16393-4 2015 448 pages / 72 illus.

cloth edition 2013 978-0-231-16392-7

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FILM AND CULTURE SERIES CoNtiNENtal StRaNGERS

German Exile Cinema 1933-1951

GERD GEMÜNDEN

Continental Strangers

German Exile Cinema, 1933-1951 Gerd Gemünden

“This indispensable panorama of exile cinema profoundly enriches our understanding of a crucial period of Hollywood filmmaking and its transnational resonances.”

—Johannes von Moltke, University of Michigan

“Deftly, Gerd Gemünden combines perceptive close readings of select films with sharp archival investigation to show how some key movies of classical Hollywood came-in often fraught manner-to engage with the evils of fascism. By understanding cinema as a complex negotiation over political meanings, from production to final results onscreen, this volume represents a major contribution to the literature on the Hollywood emigrés and their cultural work.”

—Dana Polan, New York University $30.00 / £20.50 paper 978-0-231-16679-9 $90.00 / £62.00 cloth 978-0-231-16678-2 2014

296 pages / 40 illus.

Plastic Reality

Special Effects, Technology, and the Emergence of 1970s Blockbuster Aesthetics Julie A. Turnock

"With consummate research and clear explanations, Turnock shows how the special effects revolution actually took place before CGI and how the way the blockbusters of the late sixties and seventies, Star Wars and Close Encounters of the Third Kind, introduced new conceptions of cinema's relation to reality and fantasy."

—Tom Gunning, author of Fritz Lang: Allegories of Vision and Modernity College

Julie A. Turnock tracks the use and evolution of special effects in 1970s filmmaking, a development as revolutionary to film as the form's transition to sound in the 1920s. Beginning with the classical studio era's early approaches to special effects, she follows the industry's slow build toward the significant advances of the late 1960s and early 1970s, which set the stage for the groundbreaking achievements of 1977. $30.00 / £20.50 paper 978-0-231-16353-8 $90.00 / £62.00 cloth 978-0-231-16352-1 2015 384 pages / 48 illus.

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Film & Media Criticism THE

POLITICS AND

DIRECTORS

POETICS OF

CINEMATIC REALISM

FIlmS? HERMANN KAPPELHOFF

. Pedro Almodóvar . Terence Davies . Todd Haynes . Gus Van Sant . John Waters

Hermann KappelHoff

EmanuEl lEvy

Gay Directors, Gay Films?

Pedro Almodóvar, Terence Davies, Todd Haynes, Gus Van Sant, John Waters

Emanuel Levy “Levy moves with fluid grace and astonishing erudition through a range of national traditions and personal styles. His study will enchant anyone interested in the twists and turns of gender, sex, and cinema.”

—Thomas Doherty, author of Hollywood and Hitler, 1933–1939

Through intimate encounters with the life and work of five contemporary gay male directors, Emanuel Levy draws a clear timeline of gay filmmaking over the past four decades and its influences and innovations. While recognizing the “queering” of American culture that resulted from these films, Levy also takes stock of the conservative backlash and its impact on cinematic art.

Director's covered include Todd Haynes, Gus Van Sant, John Waters, Pedro Almodóvar, and Terence Davies. $25.00 / £17.50 paper 978-0-231-15277-8 $75.00 / £52.00 cloth 978-0-231-15276-1

The Politics and Poetics of Cinematic Realism Hermann Kappelhoff “This is a major work of critical writing on film and one that moves the intellectual discourse about film, politics, and the aesthetic movements and projects of the twentieth century forward.”

—Robert Burgoyne, author of Film Nation

Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema’s ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society. $30.00 / £20.50 paper 978-0-231-17073-4 $90.00 / £62.00 cloth 978-0-231-17072-7 July 2015 272 pages / 40 illus.

C olumbia T hemes in P hilosophy, S ocial C riticism , and the A rts

July 2015 416 pages / 30 illus.

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Film & Media Criticism

Flickering Empire

How Chicago Invented the U.S. Film Industry

Interpreting Networks

Hermeneutics, Actor-Network Theory, and New Media

Michael Glover Smith and Adam Selzer

David J. Krieger and Andréa Belliger

Flickering Empire tells the fascinating yet little-known story of how Chicago served as the unlikely capital of American film production in the years before the rise of Hollywood (1907-1913).

As entertaining as it is informative, Flickering Empire straddles the worlds of academic and popular nonfiction in its vivid illustration of the rise and fall of the major Chicago movie studios in the mid-silent era (principally Essanay and Selig Polyscope). Colorful, largerthan-life historical figures, including Thomas Edison, Charlie Chaplin, Oscar Micheaux, and Orson Welles, are major players in the narrative—in addition to important though forgotten industry titans, such as "Colonel" William Selig, George Spoor, and Gilbert "Broncho Billy" Anderson.

This book brings together hermeneutics, actor-network theory, and new media to formulate a theory of a global network society. Hermeneutics reopens the question of unity in a fragmented world, actor-network theory reinterprets the construction of meaning as networking, and new media studies show how networking is done. Networks arise, are maintained, and are transformed by communicative actions that constitute a social operating system offering an alternative to the algorithmic logic, functionality, and systemic closure dominating solutions to problems of overcomplexity. In the social operating system's world, filters and layers replace space and time as parameters of knowing and acting. Ultimately, this book proposes a theory for a global network society based on concepts that differ from those typical of Western modernity.

$25.00 / £17.50 paper 978-0-231-17449-7 $75.00 / £52.00 cloth 978-0-231-174480 2015 240 pages / 24 illus. wallflower press

$35.00 paper 978-3-8376-2811-1 2014 208 pages TRANSCRIPT VERLAG

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Film & Media Criticism

w BOLLYWOO B OLLYWOOD’S DS

INDIA INDIA

A P ubl ic Fantas y PR I YA JOSHI

Documents of Utopia

Bollywood's India

The Politics of Experimental Documentary

A Public Fantasy

Paolo Magagnoli “Documents of Utopia makes a significant contribution to our understanding of two seemingly opposed trends in contemporary art practice: the archival turn and the burgeoning interest in utopia. Paolo Magagnoli offers a clear and sophisticated argument that a desire to recover the past can also be one to rethink the future.”

—Paul Wilson, Ithaca College

Paolo Magagnoli analyzes the experimental documentary projects of such artists as Hito Steyerl, Joachim Koester, Tacita Dean, Zoe Leonard, Jean-Luc Moulène, and Alison Craighead, as he illustrates how their work has contributed to the debate on the conditions of utopian thinking in late-capitalist society. $26.00 / £18.00 paper 978-0-231-17271-4 $80.00 / £55.00 cloth 978-0-231-17270-7 M a y 2015 224 pages / 24 illus.

Priya Joshi "Joshi’s work is a timely assessment of key films and periods in Bollywood’s history. Its wide ranging literary, theoretical, and sociocultural perspectives which cut across literature, postcolonial studies, media and cultural studies will surely be taken up by other scholars as well as general readers."

—Rajinder Dudrah, University of Manchester

Summoning the 1970s as an interpretive lens, Joshi deftly examines blockbusters from notably tumultuous moments when the idea of India was made, unmade, and remade. Joshi’s incorporates fresh explorations of iconic films such as Awara (1951) and Deewaar (1975), as well as those less analyzed, such as Ab Dilli Dur Nahin (1957) and A Wednesday (2008). $30.00 /£20.50 paper 978-0-231-16961-5 $90.00/ £62.00 cloth 978-0-231-16960-8 2015 216 pages / 45 illus.

wallflower press

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Film & Media Criticism f i l m wo rl ds a p h i los o p h i cal aesthetics of cinema

da n i e l yacavo n e

Latin Hitchcock

How Almodóvar, Amenábar, de la Iglesia, del Toro, and Campanella Became Notorious

Dona Kercher

This study explores how five major directors—Pedro Almodóvar, Alejandro Amenábar, Alex de la Iglesia, Guillermo del Toro, and Juan José Campanella— modeled their early careers on Hitchcock and his film aesthetics. Each section of the book begins with an extensive study, based on newspaper accounts, of the original reception of Hitchcock’s movies in either Spain or Latin America and how local preferences for genre, glamour, moral issues, and humor affected their success. The text brings a new approach to world film history, showcasing both the commercial and artistic importance of Hitchcock in Spain and Latin America.

Film Worlds

A Philosophical Aesthetics of Cinema Daniel Yacavone

"A half-century after Jean Mitry's magisterial integration of classical film theory, Daniel Yacavone has done the same for its modern counterpart, managing not just to reconcile, but to recruit the extremes of cognitivism and of phenomenology for his prodigious satellite mapping of the terrae incognitae he rightly calls 'Film Worlds.'.. Yacavone delivers a stable and progressive suite of concepts that address films as texts and as embodied affect. He has culled these from a balanced review of an impressive roster of film theorists as well as of the 20th century thinkers many of them have drawn on, some of whom, notably Nelson Goodman and Ernst Cassirer, have been waiting in the wing to contribute to a compelling vision like Yacavone's."

-Dudley Andrew, Yale University $30.00 / £20.50 paper 978-0-231-15769-8 $90.00 / £62.00 cloth 978-0-231-15768-1 2014 352 pages / 17 illus.

$27.00 / £18.50 paper 978-0-231-17209-7 $80.00 / £55.00 cloth 978-0-231-17208-0 2015 240 pages wallflower press

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Film & Media Criticism

Transnational Representations

Postnaturalism

The State of Taiwan Film in the 1960s and 1970s

Frankenstein, Film, and the Anthropotechnical Interface

James Wicks

Shane Denson

"James Wicks' book offers a most nuanced, sensible, and timely account of the 1960--70s Taiwan films in terms of plot, theme, language, and generic innovations. He zooms in on works by such prominent directors as Li Xing, Bai Jingrui, Song Cunshou, and others, highlighting local, regional, and transnational flows, while not losing sight of the complexities in the island-state's identity and modernity formation processes."

— Ping-hui Liao, University of California, San Diego

Transnational Representations focuses on a neglected period in Taiwan film scholarship: the golden age of the 1960s and 1970s, which saw innovations in plot, theme and genre as directors highlighted the complexities of Taiwan's position in the world. Combining a concise overview of Taiwan film history with analysis of representative Taiwan films, the book reveals the internal and external struggles Taiwan experienced in its search for global identity.

Foreword by Mark B. N. Hansen

Postnaturalism offers an original account of human-technological coevolution and argues that film and media theory, particularly, needs to be reevaluated from the perspective of material interfaces in a constantly changing environment. Extrapolating from Frankenstein films and the resonances they establish between a hybrid monster and spectator hooked into the machinery of cinema, Shane Denson engages debates in science studies and the philosophy of technology to rethink histories of cinema, media, and technology and the affective channels of our own embodiment. $60.00 cloth 978-3-8376-2817-3 2014 432 pages Transcript Verlag

$64.00/ £44.00 cloth 978-988-820-850-0 2015 192 pages / 17 illus.

H ong Kong University Press

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FILM & MEDIA CRITICISM

Last Words

Parallel Lines

Considering Contemporary Cinema

Post-9/11 American Cinema

Jason Wood

Guy Westwell

“Wood asks crisp, pointed, well-focused questions while simultaneously building a conversational relationship with the person being interviewed. The remarkable assemblage of filmmakers who comprise his cast of characters represent just about every point along the spectrum of serious screen art today, and every one of them has ideas, opinions, and experiences that deserve the attention of everyone who cares about the troubled present and uncertain future of worthwhile cinema.”

—David Sterritt, chair, National Society of Film Critics

Last Words features extensive interviews with Christopher Nolan, Harmony Korine, Charlie Kaufmann, Nicolas Winding Refn, Wim Wenders, Michael Winterbottom, Christian Petzhold, and many others. $30.00 / £20.50 paper 978-0-231-17197-7 $90.00 / £62.00 cloth 978-0-231-17196-0

Parallel Lines describes how films from Spike Lee’s 25th Hour (2002) to Kathryn Bigelow’s Zero Dark Thirty (2012) relate to different, competing versions of American national identity in the wake of the September 11 terrorist attacks. The book combines readings of films (World Trade Center, United 93, Fahrenheit 9/11, Loose Change) and cycles of films (depicting revenge, conspiracy, torture, and war) with extended commentary on recurring themes, including the relationship between the United States and the world; narratives of therapeutic recovery; and questions of ethical obligation. $27.00 / £18.50 paper 978-0-231-17203-5 $80.00 / £55.00 cloth 978-0-231-17202-8 2014 240 pages wallflower press

2014 192 pages wallflower press

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FILM & Media CRITICISM

The Ultimate Stallone Reader

Slow Movies

Sylvester Stallone as Star, Icon, Auteur

Countering the Cinema of Action

Edited by Chris Holmlund

Ira Jaffe

Sylvester Stallone has been a defining part of American film for nearly four decades. He has made an impact on world entertainment in a surprisingly diverse range of capacities – as actor, writer, producer, and director – all while maintaining a monolithic presence.

With The Ultimate Stallone Reader, this icon finally receives concerted academic attention. Eleven original essays by internationally known scholars examine Stallone’s contributions to mainstream cinema, independent film, and television. This volume also offers innovative approaches to star, gender, and celebrity studies, performance analysis, genre criticism, industry and reception inquiry, and the question of what it means to be an auteur.

“In a time of hypermodern acceleration in cinematic narrative, Ira Jaffe turns a penetrating eye to films that embody a transcendent and deeply probing slowness. Interpretive deliberation, emptiness of moment and observation, virtuosity of meditation, the revelation of the long take, and the patient angling of narrative gain new clarity – even radiance – in Jaffe’s important analysis of works

by Jarmusch, Van Sant, Kiarostami, Oliveira, Ceylan, Puiu, Zhang-ke, and Tarr.”

— Murray Pomerance, University of Toronto $27.00 / £18.50 paper 978-0-231-16979-0 $80.00 / £55.00 cloth 978-0-231-16978-3 2014

256 pages / 30 illus.

Wallflower Press

$27.00 / £18.50 paper 978-0-231-16981-3 $80.00 / £55.00 cloth 978-0-231-16980-6 2014 224 pages, 20 illus.

Wallflower Press

for more information , visit : www . cup . columbia . edu

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FILM & MEDIA CRITICISM

Contemporary Romanian Cinema

Video Revolutions

The History of an Unexpected Miracle

Michael Z. Newman

Dominique Nasta

“Michael Newman has carved out a fascinating intellectual space between television and cinema as they are traditionally understood, to illuminate both as well as to explore the new ground that the concept of ‘video’ established in the media imaginary. This is a concise and impressive work that should be on the reading list of all scholars of media and contemporary culture.”

"Every national cinema should envy Romania for having someone like Dominique Nasta to chronicle its history. This book, like Romanian cinema itself, provides unexpected discoveries decade to decade, while leading us authoritatively and dramatically to the recent masterpieces that have put Romania firmly on the cinephile's map....the definitive book on this important cinema."

— Dudley Andrew, Yale University

"By exploring not only nationally specific contexts, but also issues such as co-productions, exile, diaspora, and other forms of global circulation, Nasta demonstrates that far from being a peripheral phenomenon, Romanian cinema has a central place within discussions of world cinema."

— Tim Bergfelder, University of Southampton $26.00 / £18.00 paper 978-0-231-16745-1 $80.00 / £55.00 cloth 978-0-231-16744-4

A On the History of a Medium

— Michele Hilmes, University of WisconsinMadison

“Newman does for video what Lynn Spigel did for television: he ‘makes room’ for it in an accessible and compelling critique that shows how video has become an integral part of our lives. Video Revolutions is a book that is long overdue.”

— Michael Curtin, co-author, The American Television Industry $9.00 / £6.00 paper 978-0-231-16951-6 2014 160 pages / 9 illus.

2013 256 pages / 15 illus.

Wallflower Press

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Short Cuts (Wallflower Press)

Short Cuts The Short Cuts series is a comprehensive list of introductory texts covering the full spectrum of Film Studies, including genres, critical concepts, film histories/movements and film technologies.

Forthcoming June

Biopics

Postmodernism and Film

A Life in Pictures

Rethinking Hollywood’s Aesthestics

Ellen Cheshire

Catherine Constable

Biopics contains a series of case studies that throw light on this most unique of genres. Unlike other genres, bio-pics seem to share no familiar iconography, codes, or conventions. What links them are the films’ depiction of an “important” person’s life. Through a carefully selected range of thematically linked (Englishlanguage) biopics released since 1990, this book explores key issues surrounding their resurgence, narrative structure, production, subject representation or misrepresentation, and critical response. $20.00 / £14.00 paper 978-0-231-17205-9 2015 144 pages

Constable examines postmodern film aesthetics and challenges to the aesthetic paradigms dominating film analysis. She explores conceptions of the classical, modernist, postclassical/new Hollywood styles and their construction as a linear history in which postmodernism informs a debatable final act. This history is challenged through Lyotard’s nonlinear conception of postmodernism, which recasts postmodern aesthetics as a paradigm ocurring across the history of Hollywood. Constable also discusses “nihilistic” postmodern theorists Jean Baudrillard and Frederic Jameson and “affirmative” theorists Linda Hutcheon and Judith Butler. $22.00 / £15.00 paper 978-0-231-17455-8 June 2015 144 pages / 12 illus.

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Short Cuts (Wallflower Press)

International Politics and Film

Film Theory

Sean Carter and Klaus Dodds

Felicity Colman

International Politics and Film introduces readers to the representational qualities of film but also draws attention to how the relationship between the visual and the spatial is constitutive of international politics. Using four themes – borders, the state of exception, homeland, and distant others – the territorial and imaginative dimensions of international affairs in particular are highlighted. But this volume also makes clear that international politics is not just something "out there"; film helps us better understand how it is also part of everyday life within the state – affecting individuals and communities in different ways depending on axes of difference such as gender, race, class, age, and ethnicity.

Film Theory addresses the core concepts and arguments created or used by academics, critical film theorists, and filmmakers, including the work of Dudley Andrew, Raymond Bellour, Mary Ann Doane, Miriam Hansen, bell hooks, Siegfried Kracauer, Raul Ruiz, P. Adams Sitney, Bernard Stiegler, and Pier Paolo Pasolini. This volume takes the position that film theory is a form of writing that produces a unique cinematic grammar; and like all grammars, it forms part of the system of rules that govern a language, and is thus applicable to wider range of media forms. In their creation of authorial trends, identification of the technology of cinema as a creative force, and production of films as aesthetic markers, Coleman suggests that film theories contribute an epistemological resource that connects the technologies of filmmaking and film composition.

Space, Vision, Power

$20.00 / £14.00 2014

paper 978-0-231-16971-4

144 pages / 30 illus.

Creating a Cinematic Grammar

$20.00 / £14.00 2014

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paper 978-0-231-16973-8

144 pages / 40 illus.

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Short Cuts (Wallflower Press)

The Gangster Film

The Sports Film

Ron Wilson

Bruce Babington

Fatal Success in American Cinema

Games People Play

This volume examines the gangster film in its historical context with an emphasis on the ways the image of the gangster has adapted and changed as a result of socio-cultural circumstances.

From its origins in Progressive-era reforms to its use as an indictment of corporate greed, the gangster film has often provided a template for critiquing American ideas and values concerning individualism, success, and business acumen. The gangster genre has also been useful in critically examining race and ethnicity in American culture in terms of "otherness." Films studied include Musketeers of Pig Alley (1912), The Racket (1928), The Captive City (1952), The Godfather, Part Two (1974), Goodfellas (1990), and Killing Them Softly (2012). $20.00 / £14.00 paper 978-0-231-17207-3 2014

144 pages

After covering the genre's early history and theorizing its general characteristics, this volume then focuses on specific instances of sports films, such as the biopic, the sports history film, the documentary, the fan film, the boxing film, and explores issues such as gender, race, spectacle and silent comedy. Four major films are then closely analyzed – Chariots of Fire, Field of Dreams, the Indian cricket epic Lagaan, and Oliver Stone's Any Given Sunday. While recording American film's importance to the genre, the book resists the conventional concentration on American cinema and sports by its attention to other cinemas, for example the British, Indian, Australian, South Korean, Thai, German, New Zealand, and Spanish, with the many different sports they depict. $20.00 / £14.00 paper 978-0-231-16965-3 2014

144 pages / 2 illus.

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Cultographies (WALLFLOWER PRESS)

Cultographies Cultographies provides a comprehensive introduction to those films which have attained the coveted status of cult classic, focusing on their particular appeal, the ways in which they have been conceived, constructed and received, and their place in the broader popular cultural landscape.

They Live D. Harlan Wilson

Born out of the cultural flamboyance and anxiety of the 1980s, They Live (1988) is a hallmark of John Carpenter’s singular canon, combining the aesthetics of multiple genres and leveling an attack against the politics of Reaganism and the Cold War. This study traces the development of They Live from its comic book roots to its legacy as a cult masterpiece while evaluating the film in light of the paranoid/postmodern theory that matured in the decidedly “Big 80s.” Directed by a reluctant auteur, the film is examined as a complex work of metafiction that calls attention to the nature of cinematic production and reception as well as the dynamics of the cult landscape.

Frankenstein Robert Horton

James Whale’s Frankenstein (1931) spawned a phenomenon that has been rooted in world culture for decades.

This cinematic Prometheus has generated countless sequels, remakes, rip-offs, and parodies in every media, and this granddaddy of cult movies constantly renews its followers in each generation.

Along with an in-depth critical reading of the original 1931 film, this book tracks Frankenstein the monster’s heavy cultural tread from Mary Shelley’s source novel to today’s Internet chat rooms. $15.00/ £10.50 paper 978-0-231-16743-7 2014

128 pages / 30 illus.

$15.00 / £10.50 paper 978-0-231-17211-0 2014 128 pages

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Cultographies (WALLFLOWER PRESS)

Bring Me the Head of Alfredo Garcia

Faster, Pussycat! Kill! Kill!

Dean DeFino

Russ Meyer's Faster, Pussycat! Kill!

Kill! (1965) is an enigma. A box-office failure when initially released on the grindhouse circuit, it has since been embraced by art-house audiences, and referenced in countless films, television series, and songs. A riot of styles and story clichés lifted from biker, juvenile delinquency, and beach party movies, it has the coherence of a dream, and the improvisatory daring of a jazz solo.

John Waters has called it the greatest movie ever made, and Quentin Tarantino has long promised to remake it. But what draws them, and so many other cult fans to Pussycat? To help answer that question, this book looks at the production and critical reception of the film, its place within the cultural history of the 1960s, its representations of gender and sexuality, and the specific ways it meets the criteria of a cult film.

Ian Cooper

Upon its initial release, Sam Peckinpah´s notorious work took a critical and commercial nosedive, but in later years, the work was heralded as a demented masterpiece—a violent, hallucinatory autobiography and a brilliant example of “pure Peckinpah.” This study revisits the making of this controversial film, as well as its original reception and subsequent reassessment. It reads the project as an auteur work, a genre film, a confession, and a bizarre self-parody. $15.00 / £10.50 paper 978-1-906660-32-1 2011

128 pages

$15.00/ £10.50 paper 978-0-231-16739-0 2014

144 pages / 40 illus.

for more information , visit : www . cup . columbia . edu

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AUTEUR PUBLISHING Carrie DEVIL’S ADVOCATES is a series devoted to exploring the classics of horror cinema. Contributors to Devil’s Advocates come from the worlds of teaching, academia, journalism and fiction, but all have one thing in common: a passion for the horror film and for sharing that passion.

Devil’s Advocates

Devil’s Advocates Neil Mitchell

Devil’s Advocates

The Blair Witch Project Peter Turner

Brian De Palma’s 1976 adaptation of Stephen King’s debut novel Carrie is one of the defining films of the 1970s ‘New Hollywood’ and a horror classic in its own right. The story of a socially outcast teenage girl who discovers she possesses latent psychic power, leading to her retribution against her peers, teachers and abusive mother, Carrie was an enormous commercial and critical success and still stands as one of the finest screen versions of a King novel.

Carrie

Neil Mitchell’s contribution to the Devil’s Advocates series explores the film not just in terms of a formal breakdown - its themes, stylistic tropes, technical approaches, uses of colour and sound, dialogue and visual symbolism - but also the multitude of other factors that have contributed to its classic status. The act of adapting Stephen King’s novel for the big screen, the origins of the novel itself, the place of Carrie in De Palma’s oeuvre, the subsequent versions and sequel as well as the social, political and cultural climate of the era (second wave feminism, sexuality, representations of adolescence, etc.) and the explosion of interest in and the evolution of the horror genre in the 1970s are all shown to have played an important part in the film’s success and enduring reputation as a whole.

Neil Mitchell is a writer and editor, most recently of World Film Locations: Melbourne and, as co-editor, of Directory of World Cinema: Britain. He also edits the film magazine The Big Picture.

Neil Mitchell

ISBN 978-1-906733-72-8

Auteur Publishing www.auteur.co.uk ISBN: 978-1-906733-72-8 Cover photograph: © BFI

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781906 733728

The Curse of Frankenstein

The Blair Witch Project

Marcus K. Harmes

Peter Turner

This 1957 film was the first to bring together the “unholy two,” Christopher Lee and Peter Cushing, with the Hammer company and director Terence Fisher, a combination now legendary among horror fans. This book travels back to the start of the Hammer horror production, considering the film as a loose literary adaptation; as a work avoiding echoes of James Whale’s 1931 film; and as a text inspired by the Gainsborough bodice rippers of the 1940s and the poverty row horrors of the 1950s. The film jolted 1950s cinema and has never been surpassed.

Few films have had the influence of The Blair Witch Project (1999). Its arrival was a horror cinema palette cleanser after a decade of serial killers and postmodern intertextuality, a bare bones “found footage” trendsetter. In this Devil’s Advocate volume, Peter Turner tells the story of the film from its conception through its production, and then provides a unique analysis of the techniques used, their appeal to audiences, and the themes that helped make the film such an international hit, including its pioneering Internet marketing campaign.

$40.00 / £27.50 cloth 978-0-231-16230-2

2015 110 pages / 20 illus.

2015 256 pages / 24 illus.

$15.00 paper 978-1-906733-84-1

Devil's ADvocate SERIES

Devil's ADvocate SERIES

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AUTEUR PUBLISHING Devil’s Advocates

oring the classics of horror from the worlds of teaching, common: a passion for the

Devil’s Advocates

Black Sunday Martyn Conterio

ovel Carrie is one of the defining s own right. The story of a socially hic power, leading to her retribution enormous commercial and critical a King novel.

Carrie

xplores the film not just in terms of proaches, uses of colour and sound, er factors that have contributed or the big screen, the origins of subsequent versions and sequel econd wave feminism, sexuality, erest in and the evolution of the mportant part in the film’s success

m Locations: Melbourne and, as he film magazine The Big Picture.

Neil Mitchell

ISBN 978-1-906733-72-8

9

781906 733728

Black Sunday

Studying Indian Cinema

Martyn Conterio

Omar Ahmed

Despite its reputation as one of the greatest horror films, there is surprisingly little literature dedicated to Mario Bava’s Black Sunday (1960), and this study is the first single volume dedicated to the work. Martyn Conterio positions the film as one of the first sound Italian horror films and describes how its success kickstarted the Italian horror boom. He considers the film’s particular perspective on the gothic, which it pioneered, and its innovative approach to horror tropes such as the vampire and the witch. He also considers how the casting of British “Scream Queen” Barbara Steele was crucial to the work’s success.

This book analyzes key films in their social, political, and historical contexts while engaging with the ideological strands underpinning each one. Omar Ahmed reads sequences through conceptual frameworks common to film and media studies, such as narrative, genre, representation, audience, and mise-en-scene. Case studies run chronologically, from Awaara (1951) to The Elements Trilogy: Water (2005) and include films by such major directors as Satyajit Ray (The Lonely Wife), Ritwick Ghatak (Cloud Capped Star), Yash Chopra (The Wall), and Mira Nair (Salaam Bombay!).

$15.00 paper 978-1-906733-83-4

$32.00 paper 978-1-906733-67-4 $95.00 cloth 978-1-906733-68-1

2015 110 pages / 20 illus.

2014 300 pages / 100 illus.

D evil ' s adocate series

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Splice (AUTEUR PUBLISHING)

Splice Series Edited by John Atkinson Splice bridges the gap between contemporary cinema and intelligent discourse.

Facilitating the study of contemporary cinema, it offers a practical solution for teachers and students of film studies, media studies, and related disciplines.

Splice: Volume 7 issue 2 The Film and History Issue Edited by John Atkinson This latest issue of Splice considers the relationship between film and the depiction of historical figures and events. As usual, Splice approaches its theme from a variety of refreshing angles. Topics and films covered include the representation of 'camp' in such historical films as Marie Antoinette and 300; historical figures and myth-making in the likes of The King's Speech and The Iron Lady; the limitations of historical films, using the Tom Cruise vehicle Valkyrie as a case study; and the the impact of neo-liberalism on film since the 1980s. $20.00 / £14.00 paper 978-1-906733-80-3 2014

100 pages / 30 illus.

Splice: Volume 7 issue 1 Tim Burton The latest issue of Splice, the journal for all those using popular cinema in the classroom, focuses on the work of one of the most successful and studied directors at work today, Tim Burton. Articles in the issue cover Edward Scissorhands, Burton’s Batman films, and Sleepy Hollow, covering such themes as mental illness and the representation of disability in his work. $15.00 / £14.00 paper 978-1-906733-78-0 2014

90 pages / 30 illus.

Splice: Volume 6 issue 3

Splice: Volume 5 issue 2

Prison on Film

Film Adaptations

$15.00 / £14.00 paper 978-1-906733-63-6 2013

112 pages / 20 illus.

$15.00 / £14.00 paper 978-1-906733-54-4 2011

116 pages / 20 illus.

Splice: Volume 6 issue 2

Splice: Volume 5 issue 1

Sports on Film

Remakes

$15.00 / £14.00 paper 978-1-906733-62-9 2012

112 pages / 20 illus.

$15.00 / £14.00 paper 978-1-906733-52-0 2010

128 pages / 10 illus.

Splice: Volume 5 issue 3 War $15.00 / £14.00 paper 978-1-906733-53-7 2012

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100 pages

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FILM DIRECTORS Forthcoming July

The Cinema of Ang Lee

The Cinema of the Coen Brothers

The Other Side of the Screen Second Edition

Hard-Boiled Entertainments

Whitney Crothers Dilley

Jeffrey Adams

This study surveys Oscar-winning films, such as Fargo (1996) and No Country for Old Men (2007), as well as cult favorites, including O Brother, Where Art Thou?

(2000) and The Big Lebowski (1998).

Beginning with Blood Simple (1984), Jeffrey Adams examines major themes and generic constructs and offers diverse approaches to the Coens’ enigmatic films. Pointing to the pulp fiction of Dashiell Hammett, James M. Cain, and Raymond Chandler, Adams focuses upon the postmodern aesthetics of the Coens’ intertexual creativity. $25.00 / £17.50 paper 978-0-231-17461-9 $75.00 / £52.00 cloth 978-0-231-17460-2

Through suggestive readings of gender and identity, this book explores the international appeal of an acclaimed contemporary director. The author has revised the book’s introduction to reflect Ang Lee’s new films and their global reception and adds to the text a consideration of new developments in Chinese film, recent critiques of Brokeback Mountain (2005), and chapters on Lust/ Caution (2007), Taking Woodstock (2009), and Life of Pi (2012). $30.00 / £20.50 paper 978-0-231-16773-4 $90.00 / £62.00 cloth 978-0-231-16772-7 2015 272 pages wallflower press

DIRECTOR'S CUTS

July 2015 240 pages / 24 illus. wallflower press

DIRECTOR'S CUTS

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FILM DIRECTORS

The Cinema of István Szabó Visions of Europe

John Cunningham

István Szabó is one of Hungary's most celebrated and best-known film directors, and the only Hungarian to have won an Academy Award for Best Foreign Language Film, for Mephisto (1981). In a career spanning over five decades, Szabó has relentlessly examined the place of the individual in European history, particularly those caught up in the turbulent events of Central Europe and his own native Hungary. His protagonists struggle to find a place for themselves, some meaning in their lives, security and a sense of being, against a background of two world wars (Colonel Redl, Confidence), the Holocaust (Sunshine), the Hungarian Uprising and the Cold War (Father, 25 Fireman's Street, Taking Sides). This is the first English-language study of all his feature films and uses material from interviews with Szabó and his collaborators. $25.00 / £17.50 paper 978-0-231-17199-1 $75.00 / £52.00 cloth 978-0-231-17198-4 2014 240 pages Wallflower Press

The Cinema of George A. Romero Knight of the Living Dead Second Edition Tony Williams

In placing George Romero's oeuvre in the context of literary naturalism, this volume explores the relevance of the director's films within American cultural traditions and thus explains the potency of such work beyond "splatter movie" models. Tony Williams explores the roots of naturalism in the work of Émile Zola and traces this through to the EC Comics of the 1950s and on to the work of Stephen King. In so doing, he illuminates the importance of seminal Romero texts such as Night of the Living Dead (1968), Creepshow (1982), Monkey Shines (1988), The Dark Half (1992). This study also includes full coverage of Romero's latest feature, Bruiser (2000), as well as his screenplays and teleplays. $30.00 / £20.50 paper 978-0-231-17355-1 $90.00 / £62.00 cloth 978-0-231-17354-4 2015 320 pages Wallflower Press

DIRECTOR'S CUTS

DIRECTOR'S CUTS

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FILM DIRECTORS

The Cinema of James Cameron

The Cinema of Clint Eastwood

James Clarke

David Sterritt

This volume explores the massively popular cinema of writer-director James Cameron. It couches Cameron's films within the evolving generic traditions of science fiction, melodrama, and the cinema of spectacle. The book also considers Cameron's engagement with the aesthetic of visual effects and the 'now' technology of performance-capture which is arguably moving a certain kind of event-movie cinema from photography to something more akin to painting. This book is explicit in presenting Cameron as an authentic auteur, and each chapter is dedicated to a single film in his body of work. Space is also given to discussion of Strange Days as well as his documentary works.

Measured by longevity, productivity, and profits, Clint Eastwood is the most successful actor-director-producer in American film history. This book examines the major elements of his career, focusing primarily on his work as a director but also exploring the evolution of his acting style, his long association with screen violence, his interest in jazz, and the political views reflected in his films and public statements. Especially fascinating is the pivotal question that divides critics and moviegoers to this day: is Eastwood a capable director with a photogenic face, a modest acting talent,? Or is he a true cinematic auteur with a distinctive vision of America's history, traditions, and values? From A Fistful of Dollars and Dirty Harry to Million Dollar Baby and beyond, The Cinema of Clint Eastwood takes a closeup look at one of the screen's most influential and charismatic stars.

Bodies in Heroic Motion

$25.00 / £17.50 paper 978-0-231-16977-6 $75.00 / £52.00 cloth 978-0-231-16976-9 2014 224 page / 50 Illus.

Wallflower Press

DIRECTOR'S CUTS

Chronicles of America

$25.00 / £17.50 paper 978-0-231-17201-1 $75.00 / £52.00 cloth 978-0-231-17200-4 2014 240 page Wallflower Press

DIRECTOR'S CUTS

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FILM DIRECTORS

The Sensuous Cinema of Wong Kar-wai Film Poetics and the Aesthetic of Disturbance

Gary Bettinson "Gary Bettinson offers a critical assessment not only of the stylistic features of Wong Karwai's films but also of the scholarship that has developed around them. Arguing against the facile culturalism that tends to dominate such scholarship, this book does full justice to Wong's cinematic methods in a series of impressively well-informed and informative readings."

— Rey Chow, Duke University

The widely acclaimed films of Wong Kar-wai are characterized by their sumptuous yet complex visual and sonic style. This study of Wong's filmmaking techniques uses a poetics approach to examine how form, music, narration, characterization, genre and other artistic elements work together to produce certain effects on audiences. Each of the chapters focuses on a single aspect of Wong's filmmaking.

Be Sand, Not Oil

The Life and Work of Amos Vogel Edited by Paul Cronin

Amos Vogel was one of America’s most innovative film historians and curators.

An émigré from Austria who arrived in New York just before the Second World War, he created Cinema 16, a pioneering film club, in 1947 and helped establish the New York Film Festival in 1963. Vogel later synthesized his experience for students and the wider public, publishing the culmination of his thoughts, along with an extraordinary collection of stills, in a book entitled Film as a Subversive Art. Be Sand, Not Oil is the first book about Vogel’s life and work, including uncollected writings, an unpublished interview, and new essays documenting the filmmaker’s never-ending quest for what Werner Herzog, his friend of many decades, has described as “adequate imagery.” $32.50 / £22.50 paper 978-3-901644-59-7 2014 256 pages / 50 illus.

Austrian Film Musuem Books

$59.00 / £40.50 cloth 978-988-813-929-3 2015

176 page / 20 illus.

Hong Kong University Press

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FILM DIRECTORS

ORDERING INFORMATION ORDER ONLINE AND SAVE 30% For Customers in North America, South America, Asia, Australia, and New Zealand, visit our web site www. cup.columbia.edu to order. Enter this code CONF for the 30% discount. Or you can email: cup_book@columbia. edu

Romuald Karmakar [German Language Edition]

Edited by Olaf Möller and Michael Omasta

Romuald Karmakar’s work in the fields of fiction and documentary holds a unique place in European film. It also stands in clear opposition to the dominant ways of the German film industry - both aesthetically and in its head-on treatment of several sore spots in German history. Time and again the 45-year-old director has engaged with "impossible" characters and "borderline" subjects: mercenaries, a notorious Nazi speech, the terror of being in a relationship, an imprisoned serial killer, or what it means to truly experience electronic and techno music. The book presents Karmakar’s work in its entirety for the first time. It includes a 130-page essay

by Olaf Möller, several conversations with the artist, an annotated filmography, and selected writings by Romuald Karmakar, including a number of unproduced treatments. $33.00 / £23.00 paper 978-3-901644-34-4 2013 255 pages

International Orders For Customers in the UK, Europe, Middle East, and Africa, please visit our web site for all your book information, but orders will be filled via Wiley Distribution Services Ltd. in the UK. Please call 1243 843-291 or e-mail customer@ wiley.com Titles published by Hong Kong University Press, Transcript-Verlag, Auteur Publishing, and Ibidem Press are available from Columbia only in North America. To order titles from these publishers in other parts of the world, please contact each press directly.

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