{"title":"Teoria E Crítica De Cinema","description":null,"products":[{"product_id":"young-and-innocent","title":"Young And Innocent?","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eThis book brings together the study of silent cinema and the study of British cinema, both of which have seen some of the most exciting developments in Film Studies in recent years. The result is a comprehensive survey of one of the most important periods of film history.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e","brand":"University of Exeter Press","offers":[{"title":"Default Title","offer_id":52653512556911,"sku":"9780859897174","price":315.81,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0859897176.jpg?v=1770732606"},{"product_id":"1968-and-global-cinema","title":"1968 and Global Cinema","description":"\u003cp\u003e\u003cem\u003e1968 and Global Cinema\u003c\/em\u003e addresses a notable gap in film studies. Although scholarship exists on the late 1950s and 1960s New Wave films, research that puts cinemas on 1968 into dialogue with one another across national boundaries is surprisingly lacking. Only in recent years have histories of 1968 begun to consider the interplay among social movements globally. The essays in this volume, edited by Christina Gerhardt and Sara Saljoughi, cover a breadth of cinematic movements that were part of the era's radical politics and independence movements. Focusing on history, aesthetics, and politics, each contribution illuminates conventional understandings of the relationship of cinema to the events of 1968, or \"the long Sixties.\"\u003c\/p\u003e\u003cp\u003eThe volume is organized chronologically, highlighting the shifts and developments in ideology in different geographic contexts. The first section, \"The Long Sixties: Cinematic New Waves,\" examines both the visuals of new cinemas, as well as new readings of the period's politics in various geopolitical iterations. This half of the book begins with an argument that while the impact of Italian Neorealism and the French New Wave on subsequent global new waves is undeniable, the influence of cinemas of the so-called Global South is pivotal for the era's cinema as well. The second section, \"Aftershocks,\" considers the lasting impact of 1968 and related cinematic new waves into the 1970s. The essays in this section range from China's Cultural Revolution in cinema to militancy and industrial struggle in 1970s worker's films in Spain. In these ways, the volume provides fresh takes and allows for new discoveries of the cinemas of the long 1968.\u003c\/p\u003e\u003cp\u003e\u003cem\u003e1968 and Global Cinema\u003c\/em\u003e aims to achieve balance between new readings of well-known films, filmmakers, and movements, as well as new research that engages lesser-known bodies of films and film texts. The volume is ideal for graduate and u\u003c\/p\u003e","brand":"Wayne State University Press","offers":[{"title":"Default Title","offer_id":52653598015855,"sku":"9780814342930","price":283.8,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/0814342930.jpg?v=1770741000"},{"product_id":"panel-to-the-screen","title":"Panel to the Screen","description":"\u003cp\u003eOver the past forty years, American film has entered into a formal interaction with the comic book. Such comic book adaptations as Sin City, 300, and Scott Pilgrim vs. the World have adopted components of their source materials' visual style. The screen has been fractured into panels, the photographic has given way to the graphic, and the steady rhythm of cinematic time has evolved into a far more malleable element. In other words, films have begun to look like comics.\u003c\/p\u003e\u003cp\u003eYet, this interplay also occurs in the other direction. In order to retain cultural relevancy, comic books have begun to look like films. Frank Miller's original Sin City comics are indebted to film noir while Stephen King's The Dark Tower series could be a Sergio Leone spaghetti western translated onto paper. Film and comic books continuously lean on one another to reimagine their formal attributes and stylistic possibilities.\u003c\/p\u003e\u003cp\u003eIn Panel to the Screen, Drew Morton examines this dialogue in its intersecting and rapidly changing cultural, technological, and industrial contexts. Early on, many questioned the prospect of a \"low\" art form suited for children translating into \"high\" art material capable of drawing colossal box office takes. Now the naysayers are as quiet as the queued crowds at Comic-Cons are massive. Morton provides a nuanced account of this phenomenon by using formal analysis of the texts in a real-world context of studio budgets, grosses, and audience reception.\u003c\/p\u003e","brand":"University Press of Mississippi","offers":[{"title":"Default Title","offer_id":52690919424367,"sku":"9781496820280","price":312.51,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/1496820282.jpg?v=1771522650"}],"url":"https:\/\/internacional.umlivro.com.br\/collections\/teoria-e-critica-de-cinema.oembed","provider":"UmLivro Internacional","version":"1.0","type":"link"}