Bøger i Film and Media Studies serien

This book explores contemporary German and Austrian cinema  and the trend away from "cinema of consensus" toward a more heterogeneous and critical cinema culture.  Functioning both as a product and as an agent of globalizing processes, this new cinema mediates and influences important political and social debates.

The first monograph devoted to the popular genre of the Slavic film musical, this volume offers analyses of some of the most widely-attended Polish and Russian films within a cultural and sociopolitical context.

This book examines major Russian TV series focusing on three major issues: Russian television's transition to digital post-broadcast visual economy, Russian television's integration into global television markets and their genre systems, and major shifts in representation of gender and sexuality on television.

This book examines major Russian TV series focusing on three major issues: Russian television's transition to digital post-broadcast visual economy, Russian television's integration into global television markets and their genre systems, and major shifts in representation of gender and sexuality on television.

What do images of the body, which recent poets and filmmakers have given us, tell us about ourselves, about the way we think and about the culture in which we live? In his new book A Body of Vision, R. Bruce Elder situates contemporary poetic and cinematic body images in their cultural context. Elder examines how recent artists have tried to recognize and to convey primordial forms of experiences. He proposes the daring thesis that in their efforts to do so, artists have resorted to gnostic models of consciousness. He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception. The works of Brakhage, Artaud, Schneeman, Cohen and others lie naked under Elder s razor-sharp dissecting knife and he exposes the essence of their work, cutting deeply into the themes and theses from which the works are derived. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.

Cubism and futurism were closely related movements that vied with each other in the economy of renown. Perception, dynamism, and the dynamism of perceptionthese were the issues that passed back and forth between the two. Cubism and Futurism: Spiritual Machines and the Cinematic Effect shows how movement became, in the traditional visual arts, a central factor with the advent of the cinema: gone were the days when an artwork strived merely to lift experience out the realm of change and flow. The cinema at this time was understood as an electric art, akin to X-rays, coloured light, and sonic energy. In this book, celebrated filmmaker and author Bruce Elder connects the dynamism that the cinema made an essential feature of the new artwork to the new science of electromagnetism. Cubism is a movement on the cusp of the transition from the Cartesian world of standardized Cartesian coordinates and interchangeable machine parts to a Galvanic world of continuities and flows. In contrast, futurism embraced completely the emerging electromagnetic view of reality. Cubism and Futurism examines the similarity and differences between the two movements' engagement with the new science of energy and shows that the notion of energy made central to the new artwork by the cinema assumed a spiritual dimension, as the cinema itself came to be seen as a pneumatic machine.

Making Feminist Media provides new ways of thinking about the vibrant media and craft cultures generated by Riot Grrrl and feminisms third wave. It focuses on a cluster of feminist publicationsincluding BUST , Bitch , HUES , Venus Zine , and Rockrgrl that began as zines in the 1990s. By tracking their successes and failures, this book provides insight into the politics of feminisms recent past. Making Feminist Media brings together interviews with magazine editors, research from zine archives, and analysis of the advertising, articles, editorials, and letters to the editor found in third-wave feminist magazines. It situates these publications within the long history of feminist publishing in the United States and Canada and argues that third-wave feminist magazines share important continuities and breaks with their historical forerunners. These publishing lineages challenge the still-dominantand hotly contested wave metaphor categorization of feminist culture. The stories, struggles, and strategies of these magazines not only represent contemporary feminism, they create and shape feminist cultures. The publications provide a feminist counter-public sphere in which the competing interests of editors, writers, readers, and advertisers can interact. Making Feminist Media argues that reading feminist magazines is far more than the consumption of information or entertainment: it is a profoundly intimate and political activity that shapes how readers understand themselves and each other as feminist thinkers.

Music in Range explores the history of Canadian campus radio, highlighting the factors that have shaped its close relationship with local music and culture. The book traces how campus radio practitioners have expanded stations from campus borders to sur-rounding musical and cultural communities by acquiring FM licenses and establishing community-based mandates. The culture of a campus station extends beyond its studio and into the wider community where it is connected to the local music scene within its broadcast range. The book examines campus stations and local music in Vancouver, Winnipeg, and Sackville, NB, and highlights the ways that campus stationsthrough music-based programming, their operational practices, and the culture under which they operateproduce alternative methods and values for circulating local and independent Canadian artists at a time when ubiquitous commercial media outlets do exactly the opposite. Music in Range sheds light on a radio sector that is an integral component of Canadas musical and cultural fabric and positions campus radio as a worthy site of attention at a time when connectivity and sharing between musicians, music fans, and cultural intermediaries are increasingly shaping our experience of music, radio, and sound.

This is a collection of writings by the giant of experimental cinema, Stan Brakhage, that shows him in a completely new light, as part of world cinema. For the duration of the 1980s, Brakhage contributed to the Boulder literary magazine Rolling Stock , mostly publishing reports from the Telluride Film Festival. These reports show that Brakhage was keenly interested in world cinema, anxious to meet and dialogue with filmmakers of many different stripes. The book also contains substantial discussion of Brakhage's work in light of the filmmakers he encountered at Telluride and discussed in Rolling Stock . Long chapters are given over to Soviet filmmakers such as Andrei Tarkovsky, Larissa Shepitko, and Sergei Parajanov, as well as the German filmmaker Hans-J"e;rgen Syberberg. Brakhage was a keen viewer of these filmmakers and their contemporaries, both at Telluride and in his role as teacher at the University of Colorado, and Stan Brakhage and Rolling Stock attempts to place his work alongside theirs and thus reclaim him for world cinema. The book's appendices reprint letters Brakhage wrote to Stella Pence (Telluride's co-founder and managing director), as well as summaries of his work for Telluride and a brace of difficult-to-find reviews.

Showcases the accomplishments and triumphs of women in Russian animation and reveals their past contributions to not only animation, but also world cinema. Through archival research, historical analysis, and close readings of animated films this book recuperates the often-overlooked contributions women made to Russian animation.

The most extensive study of the life and corpus of any Russian or Soviet filmmaker, this book reinserts Dziga Vertov's films into the complex epoch in which he worked, the theoretical debates in which he participated, and the reception his writings and films have generated.