Explores the figure of the detective as a pursuer of knowledge in four noir films.
Argues that transgender representations in film make it more difficult for cisgender people to understand the experiences of transgender people and for transgender people to fully participate in public life.
Uses popular films to reveal the tensions generated during Japan’s postwar "economic miracle," challenging the prevailing view that it was a story of great national success.
Argues that Nietzsche’s idea of the Übermensch was a central concern of filmmakers in the 1920s and 1930s.
Explores Italian filmmakers' representations of China and the Chinese, both at home and abroad.
Presents an original, insightful, and compelling vision of the trajectory of Cavell's oeuvre, one that takes his kinship with Emerson as inextricably bound up with his ever-deepening thinking about movies.
Argues that Irish American masculinity functioned to negotiate, consolidate, and reinforce hegemonic whiteness in Hollywood cinema from 1930 to 1960.
A deeply personal study of post-9/11 film that exposes how genre can frame the shifting meanings of the War on Terror and its impact on American law and culture.
Examines the ways in which post-apocalyptic films express white racial anxiety.
A unique exploration of contemporary filmmaking from cinema’s ultimate insiders.
Studies the force of action, motion, and vision in the early cinema of Hollywood director Raoul Walsh.
Traces the circulation of Hollywood films in North Africa and the Middle East from the early twentieth century to the present.
A powerful and original statement on the nature of film and the intimate relation of “film imagination” to our lives as human beings in the world.
Traces the complex and contradictory representations of Hawai’i in popular film and television programs from the 1930s to the 1970s.
Provides a new way of thinking about film's relation to theatre.
The first academic explanation for how spectators use their imaginations as part of the experience and appreciation of popular fantasy filmmaking.
Explores how suburban space and the body are racialized in American film.
Offers both a production history and a close analysis, with a chapter for each of the film's eleven shots.
Looks at how a group of aesthetically innovative independent films contested and imagined alternatives to urban planning in midcentury New York.
Examines the place of book-to-film adaptations by one of Italy's most famous postwar film directors.
Explores how nostalgia operates in contemporary US film and television.
Across a variety of genres, shows how mental disorders are depicted in cinema.
Traces the giallo mystery/horror genre from its genesis in Italian cinema of the 1960s and 1970s to its contemporary place in the global cult-film canon.
An authoritative study of this postsecular film movement from the French-Belgian border region that rose to prominence at the turn of the twenty-first century.
Uses comedy skits, from Monty Python to Key and Peele, to probe how humor works.
Demonstrates that slapstick film comedies display a canny and sometimes profound understanding of their medium.
Engaging essays on a wide spectrum of Hollywood directors and the films they created.
Considers how dangerous beasts in horror films illuminate the human-animal relationship.
Assesses how America's film industry remembered World War I during the interwar period.
Explores how modernist films use classical music in ways that restore the music’s original subversive energy.
Investigates how musicals, war films, sex comedies, and Westerns dealt with contentious issues during a time of change in Hollywood.
Analyzes six films as allegories of capitalism’s precarious state in the early twenty-first century.
Makes the case that philosophy has an essential role to play in the serious study of film.
Analyzes how location-shot crime films of the 1970s reflected and influenced understandings of urban crisis.
Assesses how cinematic biographies of key figures reflect and shape what it means to be British.
The first book-length study of Trecartin’s artistic genealogy, evolving aesthetics, radical approach to digital and Internet culture, and impact on contemporary art, film, and media.
Explores a growing number of films and filmmakers that challenge the strict boundaries between belief and unbelief.
How films of the 1960s and early 1970s framed therapeutic issues as problems of human communication, and individual psychological problems as social ones.
Identifies a new genre—misdirection films—and explains its appeal to contemporary producers and audiences.
Examines an all too often neglected period of postwar British cinema and popular culture.
Argues that understanding Huston’s film adaptations of literary works is essential to understanding his oeuvre as a filmmaker.
Reconstructs how Ray became a “rebel auteur” in cinema culture.
Offers new and compelling perspectives on the deeply moral nature of Hitchcock’s films.
Explores the influence of Bertolt Brecht’s ideas on the practice and study of cinema.
Investigates the cultural value of film violence.
Examines movie romance in light of our emotional bond to the actors and characters on screen.
Contends that the narrative and aesthetic qualities of the documentary genre enable new understandings of animals and animal/human relationships.
Combines psychoanalysis, queer theory, masculinity studies, and cultural studies to explore contemporary manhood in film.
A wide-ranging and accessible approach to Godard’s later work, and a major intervention in the study of film and ethics.
How Hollywood biopics both showcase and modify various notions of what it means to be an American.
Proposes that cinematic time is not a fixed idea, but a dynamic exchange between film and viewer.
Assesses the range and magnitude of Robert Gardner’s achievements as a filmmaker, photographer, writer, educator, and champion of independent cinema.
Argues that Indian cinema’s deep nineteenth-century past continues to play a vital role in its twenty-first-century present.
Documents a volatile and productive moment in the development of film studies.
Examines the complexities and contradictions that arise when the monsters in the movies are children.
Traces the development of Indian cinema from the 1920s to the mid-1990s, before "Bollywood" erupted onto the world stage.
Considers films that lurk on the boundaries of acceptability in taste, style, and politics.
A range of approaches to the director's life and work.
A fresh look at the director’s career.
Offers a new interpretation of the century-long relationship between the Western film genre and Native American filmmaking.
An expanded edition of a classic work of film criticism, with a provocative and eloquent new chapter on Marnie, Hitchcock's most heartfelt--and most controversial--film.
Considers the ways in which Alfred Hitchcock adapted and transformed a variety of literary works—novels, plays, and short stories—into film.
An authoritative and comprehensive guide to cinema’s first true blockbuster.
The first collection of essays devoted to the phenomenon of the film sequel.
Examines the variety of cinematic responses to the Holocaust as well as the Shoah’s impact on cinematic expression itself.
Uncovers the queer nature of heterosexuality on film.
Uses new critical approaches to demonstrate deep affinities in these vastly different filmmakers’ philosophies on film, fantasy, and reality.
Ecocritical takes on popular film.
Locates the origins of the mass audience and the emergence of everyday moviegoing in the culture of cities.
Offers a cross section of international fringe cinema.
Korean cinema as industry, art form, and cultural product.
The power and presence of dread in recent American cinema.
A study of three classical filmmakers and the films they made at the cusp of the modernist movement in cinema.
Assesses the layered meanings and persistent global legacy of an American film classic.
Stanley Cavell's most important writings on cinema, collected together for the first time in one volume.