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With this theory in hand, Hösle discusses the incongruity in the characters played by Woody Allen and describes how these personae are realized in his work.\n \nHösle focuses on the philosophical issues in Allen's major films by exploring the identity problem in \u003ci\u003ePlay It Again, Sam\u003c\/i\u003e and \u003ci\u003eZelig\u003c\/i\u003e, the shortcomings of the positivist concept of reality in \u003ci\u003eA Midsummer Night's Sex Comedy\u003c\/i\u003e, the relation between reality and art in \u003ci\u003eThe Purple Rose of Cairo\u003c\/i\u003e, the objective validity of morality in \u003ci\u003eCrimes and Misdemeanors\u003c\/i\u003e, the power of evil in \u003ci\u003eShadows and Fog\u003c\/i\u003e, and the relation between art and morality in \u003ci\u003eBullets over Broadway\u003c\/i\u003e. He cites Allen's virtuosic reinterpretation of older forms of expression and his integration of the fantastic into the comic universe-elements like the giant breasts, anxious sperm, extraterrestrials, ghosts, and magicians that populate his movies-as formal moves akin to those of Aristophanes. Both an overview of Allen's work and a philosophical analysis of laughter, Hösle's study demonstrates why Allen's films have more to offer us-morally, philosophically, and artistically-than just a few laughs.\n\n\"In Woody Allen, Vittorio Hösle goes a long way toward explaining everything you wanted to know about Allen but were afraid to ask. Just why exactly is he funny, and why does his humor have a strong appeal for academics? In his comprehensive analysis of Allen's work, Hösle outlines a workable theory of humor, illustrates his conclusions by referring to the films and prose, and points out several philos","brand":"Longleaf Services Univ of Notre Dame du Lac","offers":[{"title":"Default Title","offer_id":52633871090031,"sku":"9780268031046","price":143.19,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0268031045.jpg?v=1770740817"},{"product_id":"mid-century-gothic","title":"Mid-century gothic","description":"\u003cp\u003e\u003ci\u003eMid-Century Gothic\u003c\/i\u003e offers a fresh perspective on the cultural moment that followed World War II, and discovers a deep sense of unease mingling with optimism about the future. By reassessing the novels, films, visual culture and technologies of the period, the book argues that gothicism itself was redefined by the upstart objects of modernity.\u003c\/p\u003e","brand":"Manchester University Press (P648)","offers":[{"title":"Default Title","offer_id":52634318635375,"sku":"9781526160256","price":230.13,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/1526160250.jpg?v=1770149454"},{"product_id":"rogues-romance-and-exoticism-in-french-cinema-of-the-1930s","title":"Rogues, Romance, and Exoticism in French Cinema of the 1930s","description":"Empire alone cannot contain the range of the exoticist imaginary in French fiction cinema of the 1930s. Rogues, Romance, and Exoticism in French Cinema of the 1930s proposes a critical framework for exoticist cinema that subsumes and exceeds colonial territory, analyzing the recurring figures, common settings, major stars, key plot devices, and narrative outcomes that dominated exoticist cinema at its popular peak.\u003cbr\u003e\u003cbr\u003e","brand":"Globe Pequot Publishing Group Inc\/Bloomsbury","offers":[{"title":"Default Title","offer_id":52653458293103,"sku":"9781611478099","price":479.37,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/161147809X.jpg?v=1770727784"},{"product_id":"star-bodies-and-the-erotics-of-suffering","title":"Star Bodies and the Erotics of Suffering","description":"\u003cp\u003eSuffering in cinema can be crucial to how stars are cast in roles and perceived by audiences, whether it is performed on the screen or weathered in the form of scandal, heartbreak, disfiguration, or aging in an actor’s real life. In \u003cem\u003eStar Bodies and the Erotics of Suffering, \u003c\/em\u003eeditors Rebecca Bell-Metereau and Colleen Glenn assemble thirteen scholars to consider fourteen stars whose careers have been defined by suffering on- or off-screen. Together, these essays question assumptions that an actor’s ability to project an enduring image—both symbolic and physical—is necessary for box-office success, demonstrating instead that disruptions often shape and direct the star image.\u003cbr\u003e\n\u003cbr\u003e\nContributors in this collection examine a wide range of stars from the last seventy years. Some essays deal with actors who have transformed temporarily for a role, or permanently, through aging or accident, such as Joaquin Phoenix, Daniel Day-Lewis, Mickey Rourke, Charlize Theron, and Hilary Swank. Other essays consider stars’ attempts to conceal aspects of themselves from the public in order to maintain a palatable public image, including Rita Hayworth, Rock Hudson, and Michael Jackson. Some explore typecasting and audience expectations, noting how struggles with marriage, divorce, and aging intersect in the images of Natalie Wood, Marilyn Monroe, and Harrison Ford. 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This book makes available, for the first time in English, articles that originally appeared in French journals. 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In this collection of short, informal essays, the author bypasses mainstream cinema and pays tribute to overlooked performances while bringing a necessary dose of renewed attention to those once-heralded and now forgotten.","brand":"Bloomsbury Publishing PLC","offers":[{"title":"Default Title","offer_id":52667090534767,"sku":"9780879109721","price":130.49,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0879109726.jpg?v=1770923947"},{"product_id":"millennial-masculinity","title":"Millennial Masculinity","description":"\u003cp\u003eIn virtually every aspect of culture-health, marriage, family, morals, politics, sex, race, economics-American men of the past two decades have faced changing social conditions and confronted radical questions about themselves. In \u003cem\u003eMillennial Masculinity: Men in Contemporary American Cinema\u003c\/em\u003e, editor Timothy Shary collects fourteen contributions that consider male representation in films made at the turn of the century to explore precisely how those questions have been dealt with in cinema. Contributors move beyond the recent wave of \"masculinity in crisis\" arguments to provide sophisticated and often surprising insight into accessible films.\u003cbr\u003e\n\u003cbr\u003e\nChapters are arranged in four sections: \"Performing Masculinity\" includes a discussion of Adam Sandler and movies such as Milk; \"Patriarchal Problems\" looks at issues of fathers from directors such as Martin Scorsese, Wes Anderson, and David Fincher; \"Exceptional Sexualities\" examines male love and sex through movies like Brokeback Mountain and Wedding Crashers; and \"Facing Race\" explores masculinity through race in film. Sean Penn, Jackie Chan, Brad Pitt, Will Smith, and Philip Seymour Hoffman are some of the actors included in these analyses, while themes considered include police thrillers, psychotic killers, gay tensions, fashion sense, and the burgeoning \"bromance\" genre.\u003cbr\u003e\n\u003cbr\u003e\nTaken together, the essays in \u003cem\u003eMillennial Masculinity\u003c\/em\u003e shed light on the high stakes of masculine roles in contemporary American cinema. Film and television scholars as well as readers interested in gender and sexuality in film will appreciate this timely collection.\u003c\/p\u003e","brand":"Wayne State University Press","offers":[{"title":"Default Title","offer_id":52667189363055,"sku":"9780814334355","price":289.5,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0814334350.jpg?v=1770924346"},{"product_id":"jane-campion","title":"Jane Campion","description":"\u003cp\u003eIn Jane Campion: Cinema, Nation, Identity a diverse group of contributors challenge the view that Campion’s body of work lacks coherence or unity to instead examine the important characteristics and themes that underlie it. Editors Hilary Radner, Alistair Fox, and Irène Bessière have compiled rich, original scholarship on Campion’s oeuvre to probe issues previously neglected by scholars—like her debt to New Zealand sources and her personal views of family dynamics—and those that benefit from additional insight—such as her place in the feminist filmmaking tradition. This volume also investigates Campion’s distinct cinematic style in light of these issues to examine the source of her enduring cross-cultural and international appeal.\u003cbr\u003e\n\u003cbr\u003e\nContributors in the first section explore the creation of subjectivity and identity in Campion’s films, which include well-known works like The Piano and Holy Smoke, to trace the unique perspectives of Campion’s characters and Campion herself as director. In the second section, essays analyze Campion’s close relationship with literature and argue that the singular vision in her literary adaptations stems from her New Zealand background and her personal mythology. Contributors in the third section argue that while Campion devotes considerable attention to the evocation of feminine internal space, she also uses the symbolic potential of her external physical locations to register what is taking place in the inner life of her characters and reflect their search for personal fulfillment. A final group of essays presents a variety of responses to Campion’s films, demonstrating that Campion is a highly personal and idiosyncratic director who nonetheless manages to fascinate viewers across a broad cultural spectrum.\u003cbr\u003e\n\u003cbr\u003e\nTaken together, contributors in Jane Campion: Cinema, Nation, Identity present a compelling analysis of Campion’s status as a\u003c\/p\u003e","brand":"Wayne State University Press","offers":[{"title":"Default Title","offer_id":52667230880111,"sku":"9780814334324","price":321.36,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0814334326.jpg?v=1770924548"},{"product_id":"light-motives","title":"Light Motives","description":"\u003cp\u003eCritics rarely associate popular film with German cinema, despite the international success of such films as Das Boot (1981), The Never-Ending Story (1984), Run, Lola, Run (1998), and recent German comedies, all representing a rich body of work outside the parameters of high culture. This very success compels the authors of Light Motives to take an unprecedented look at German popular film across the historical spectrum and to challenge the tendency among critics to divvy up German film, like Germans themselves, into the Good and the Bad. Together the essays reexamine popular film production along with larger cultural, historical, and political meanings suggested by the term \"popular.\"\u003cbr\u003e\n\u003cbr\u003e\nMost critical accounts have focused on the golden era of Weimar film and the New German Cinema of the 1960s and 70s leaving much of popular film by the wayside. This volume attributes the division to such sources as Frankfurt School dictates, Goethe Haus film offerings, and state-funded film production during the 1970s, which promoted high-culture art films to broadcast the success of West German democratization.\u003cbr\u003e\n\u003cbr\u003e\nThe essays challenge the traditional shape of German film history, while offering in-depth analyses of films that have until now been beyond the pale of critical attention. What emerges is a \"Never-Ending Story\" of oft-repeated obsessions, overlapping generic forms, omnipresent or subtle nods to Hollywood, and myriad political concerns irreducible to a unified message or aesthetic form—all bearing witness to the vibrancy of German culture.\u003c\/p\u003e","brand":"Wayne State University Press","offers":[{"title":"Default Title","offer_id":52667306901871,"sku":"9780814330456","price":310.97,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0814330452.jpg?v=1770924705"},{"product_id":"hollywood-goes-oriental","title":"Hollywood Goes Oriental","description":"\u003cp\u003eIn the \"classical\" Hollywood studio era of the 1930s to the 1960s, many iconic Asian roles were filled by non-Asian actors and some—like Fu Manchu or Charlie Chan—are still familiar today.  In Hollywood Goes Oriental: CaucAsian Performance in American Film, Karla Rae Fuller tracks specific cosmetic devices, physical gestures, dramatic cues, and narrative conventions to argue that representations of Oriental identity by Caucasian actors in the studio era offer an archetypal standard. Through this standard, Fuller shed light on the artificial foundations of Hollywood’s depictions of race and larger issues of ethnicity and performance.\u003cbr\u003e\n\u003cbr\u003e\nFuller begins by investigating a range of Hollywood productions, including animated images, B films, and blockbusters, to identify the elaborate make-up practices and distinct performance styles that characterize Hollywood’s Oriental. In chapter 2, Fuller focuses on the most well known Oriental archetype, the detective, who incorporates both heroic qualities and darker elements into a complex persona. Moving into the World War II era, Fuller examines the Oriental character as political enemy and cultural outsider in chapter 3, drawing a distinction between the \"good\" Chinese and the \"sinister\" Japanese character. In chapter 4, she traces a shift back to a seemingly more benign, erotic, and often comedic depiction of Oriental characters after the war.\u003cbr\u003e\n\u003cbr\u003e\nWhile Hollywood Goes Oriental primarily focuses on representations of Oriental characters by Caucasian actors, Fuller includes examples of performances by non-Caucasian actors as well. She also delves into the origination, connotations, and repercussions of the loaded term \"yellowface,\" which has been appropriated for many causes. Students, scholars of film, and anyone interested in Asian and cultural studies will appreciate this insightful study.\u003c\/p\u003e","brand":"Wayne State University Press","offers":[{"title":"Default Title","offer_id":52667630092655,"sku":"9780814334676","price":285.77,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0814334679.jpg?v=1770926057"},{"product_id":"script-culture-and-the-american-screenplay","title":"Script Culture and the American Screenplay","description":"\u003cp\u003eThough the history of the screenplay is as long and rich as the history of film itself, critics and scholars have neglected it as a topic of serious research. Script Culture and the American Screenplay treats the screenplay as a literary work in its own right, presenting analyses of screenplays from a variety of frameworks, including feminism, Marxism, structuralism, philosophy, and psychology. In distancing the text of screenplays from the on-screen performance typically associated with them, Kevin Alexander Boon expands the scope of film studies into exciting new territory with this volume.\u003cbr\u003e\n\u003cbr\u003e\nScript Culture and the American Screenplay is divided into two parts. Part 1 provides a general background for screenplay studies, tracing the evolution of the screenplay from the early shot lists and continuities of George Méliès and Thomas Harper Ince to the more detailed narratives of contemporary works. Part 2 offers specific, primarily thematic, critical examinations of screenplays, along with discussions of the original screenplay and the screenplay adaptation. In all, Boon explains that screenplay criticism distinguishes itself from traditional film studies in three major ways. The primary focus of screenplay criticism is on the screenplay rather than the film, the focus of screenplay studies is on the screenwriter rather than the director, and screenplay criticism, like literary criticism, is written to illuminate a reader’s understanding of the text.\u003cbr\u003e\n\u003cbr\u003e\nBoon demonstrates that whether we are concerned with aesthetics and identifying rules for distinguishing the literary from the non-literary, or whether we align ourselves with more contemporary theories, which recognize texts as distinguishable in their inter-relationships and marked difference, screenplays constitute a rich cache of works worthy of critical examination. Film scholars as well as students of film, creative writing, and literary studies will appreciate this si\u003c\/p\u003e","brand":"Wayne State University Press","offers":[{"title":"Default Title","offer_id":52667648541039,"sku":"9780814332634","price":262.06,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0814332633.jpg?v=1770926130"},{"product_id":"reading-cavells-the-world-viewed","title":"Reading Cavell's the World Viewed","description":"\u003cp\u003eIn their thoughtful study of one of Stanley Cavell’s greatest yet most neglected books, William Rothman and Marian Keane address this eminent philosopher’s many readers, from a variety of disciplines, who have neither understood why he has given film so much attention, nor grasped the place of The World Viewed within the totality of his writings about film.\u003cbr\u003e\n\u003cbr\u003e\nRothman and Keane also reintroduce The World Viewed to the field of film studies. 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However, film studies opted to embrace theory as a higher authority than our experiences of movies, divorcing itself from the philosophical perspective of self-reflection apart from which, The World Viewed teaches, we  cannot know what movies mean, or what they are.\u003cbr\u003e\n\u003cbr\u003e\nRotham and Keane now argue that the poststructuralist theories that dominated film studies for a quarter of a century no longer compel conviction, Cavell’s brilliant and beautiful book can provide a sense of liberation to a field that has forsaken its original calling. read in a way that acknowledges its philosophical achievement, The World Viewed can show the field a way to move forward by rediscovering its passion for the art of film.\u003cbr\u003e\n\u003cbr\u003e\nReading Cavell’s The World Viewed will prove invaluable to scholars and students of film and philosophy, and to those in other fields, such as literary studies and American studies, who have found Cavell’s work provocative an fruitful.\u003c\/p\u003e","brand":"Wayne State University Press","offers":[{"title":"Default Title","offer_id":52667685142895,"sku":"9780814328965","price":276.54,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0814328962.jpg?v=1770926292"},{"product_id":"where-the-boys-are","title":"Where the Boys Are","description":"\u003cp\u003eThe development of young masculine sexuality is still a cultural taboo of sorts, and until now there has been little scholarship available that discusses aspects of boyhood and its relation to cinema—in particular, the process whereby masculinities are socially, historically, economically, aesthetically, and psychologically created in male coming-of-age as depicted onscreen. Where the Boys Are: Cinemas of Masculinity and Youth scrutinizes a broad corpus of films about boyhood within a cross-genre, trans-historical, cross-authorial, and cross-cultural framework. Unlike the filmic investigations before it, this book is not restricted to examining boys as agents of violence, aggression, and withdrawal; or as routinely glossed agents of romance or victims of comedic ridicule.\u003cbr\u003e\n\u003cbr\u003e\nWhere the Boys Are is divided into three sections: Archetypes and Facades includes essays that examine historically central typifications of boyhood, the most accessible categories for seeing and understanding boy characters; essays in Bonds and Beautifications analyze the ways boys establish images of themselves and identify with one another in affiliation or love; and essays in Struggles and Redefinitions explore the way boys are depicted in film as aligning themselves in relation to people, forces, ideas, and situations. Using the most current and diverse critical methods, Where the Boys Are is a crucial resource for film scholars and students at any level, and is also the perfect companion to Gateward and Pomerance’s Sugar, Spice, and Everything Nice: Cinemas of Girlhood (Wayne State University Press, 2002)\u003c\/p\u003e","brand":"Wayne State University Press","offers":[{"title":"Default Title","offer_id":52667690910063,"sku":"9780814331156","price":309.07,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0814331157.jpg?v=1770926315"},{"product_id":"zones-of-anxiety","title":"Zones of Anxiety","description":"\u003cp\u003eThe crime serials by French filmmaker Louis Feuillade provide a unique point of departure for film studies, presenting modes rarely examined within early cinematic paradigms. 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Feuillade’s work raises significant questions of cinema authorship, film history, and film aesthetics, all of which are examined in Vicki Callahan’s groundbreaking work Zones of Anxiety, the first study to address the crime serials of Louis Feuillade from a feminist perspective.\u003cbr\u003e\n\u003cbr\u003e\nZones of Anxiety merges cultural history and feminist film theory, arguing for a different kind of film history, a \"poetic history\" that is shaped by the little-examined cinematic mode of \"uncertainty.\" Often obscured by film technique and film historians, this quality of uncertainty endemic to the cinema comes in part from the formal structures of repetition and recursion found in Feuillade’s serials. However, Callahan argues that uncertainty is also found in the \"poetic body\" of the actress Musidora who is featured in two of the serials. It is the mobility of the Musidora figure—socially, culturally, sexually, and textually—that makes her a powerful image and also a place to view the historical blind spots of film studies and feminist studies with regard to questions of race, class, and sexuality.\u003cbr\u003e\n\u003cbr\u003e\nCallahan’s substantial focus on archival research builds a foundation for a host of compelling arguments for a new feminist history of film. 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