Bøger af Geoff King

With its gothic tale of a troubled teen haunted by visions of a figure in a Halloween rabbit suit, Donnie Darko was among the first cult movie phenomena of the twenty-first century, making debut director Richard Kelly Hollywood hot property before he reached his thirtieth birthday. This study narrates the film's journey from box-office bemusement through word of mouth success to the recent director's cut of the film, and also discusses fans' reactions to the film's enigmatic conclusion, explaining how Donnie Darko gripped the imagination of Generation X teenagers across the world.

Arthouse Crime Scenes is the first book to address the relationship between art cinema and crime, contributing to the study of both categories. Case studies are provided of works by celebrated filmmakers including Lucretia Martell, Kleber Mendonça Filho, Bong Joon Ho, Nuri Bilge Ceylan, Hirokazu Koreeda, Jia Zhangke, Andrey Zvyagintsez and Lee Chang-dong. How is crime represented in art cinema? And how can this be understood in the context of global sociopolitical and film-industrial trends? Arthouse crime scenes draw on variable combinations of elements associated with art cinema and crime genres. Crime might be shown or lurk only at the edges. It might be left unresolved or unexplained. Crime can be petty and small scale or raise big questions associated with the arthouse sector: political issues, the nature of humanity, truth and knowability. In this book, close textual analysis is combined with focus on social and industrial contexts. A recurring theme is the situation of arthouse crime films within differing manifestations of broader processes of late-modern neoliberal globalization and cultural hybridity. Approaches examined range from the oblique to social realism and other mixtures of crime and arthouse tendencies.

Following the American indie cinema boom of the 1990s and the creation of "specialty" divisions by several Hollywood studios, many predicted an end to both the indie sector's viability and the making of films with ambitions beyond the commercial mainstream. Yet, as Geoff King demonstrates, plenty of distinct indie productions continue to thrive, even in the face of difficult economic circumstances. Recasting the term "indie" to denote a particular form of independent feature production that has risen to prominence in the twenty-first century, King identifies and discusses the new opportunities available to indie filmmakers. These new options and techniques include low-cost digital video and a range of Internet and social-media ventures providing funding, distribution, promotion, and sales. He also covers the ultra-low-budget "mumblecore" movement; the social realism of such filmmakers as Kelly Reichardt and Ramin Bahrani; the "digital desktop" aesthetics of Jonathan Caouette's Tarnation (2003) and Arin Crumley and Susan Buice's Four Eyed Monsters (2005); and the affect of certain dominant discourses, such as the articulation of notions of "true" indie film and its opposition to what some see as the quirky contrivances of crossover hits such as Little Miss Sunshine (2006) and Juno (2007). King ultimately locates a strong vein of continuity in indie practice, both industrially and in the textual qualities that define individual features.

An original and wide-ranging study of the mappings used to impose meaning on the world, Mapping Reality argues that maps create rather than merely represent the ground on which they rest. Distinctions between map and territory questioned by some theorists of the postmodern have always been arbitrary. From the history of cartography to the mappings of culture, sexuality and nation, Geoff King draws on an extensive range of materials, including mappings imposed in the colonial settlement of America, the Cold War, Vietnam and the events since the collapse of the Soviet bloc. He argues for a deconstruction of the opposition between map and territory to allow dominant mappings to be challenged, their contours redrawn and new grids imposed.

What is 'New Hollywood'? The 'art' cinema of the Hollywood 'Renaissance' or the corporate controlled blockbuster? This book examines New Hollywood from three main perspectives: film style, industry, and the social-historical context.

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A critical study of the American indie film Lost in Translation.

This text focuses on the dynamic relationship between narrative and spectacle in Hollywood cinema. It shows how narrative - far from being eclipsed by special effects - remains integral to the cinematic "blockbuster", citing the continuing relevance of the mythic American frontier.

Focusses on key formal aspects of games, and the experiences and pleasures offered by the activities they require of the player. Issues examined in this book include the characteristics of gameplay and its relationship with narrative, genre, virtual landscapes, realism, spectacle and sensation.