Classical Film Violence - Designing and Regulating Brutality in Hollywood Cinema, 1930–1968
Classical Film Violence is the first book to examine the interplay between the aesthetics and the censorship of violence in classic Hollywood films from 1930 to 1968, the era of the Production Code Administration (PCA), when filmmakers were required to have their scripts approved before they could start production. Stephen Prince explains how Hollywood's filmmakers designed violence in response to the regulations of the PCA and regional censors. Taking this one step further, he shows (or makes the connection) that graphic violence in today's films actually has its roots in these early films made during the time period of 1930 to 1968.
Educational video films creation E.S.V. QuickText v2.5 International editionSoftware QuickText is an instrument for learning English language. It is based on a new technology of educational video films creation. With E.S.V. QuickText you can easily and quickly mark unknown words/phrases from a subtitle file and then create an educational video film or dictionary. You watch a video, memorize meanings of unknown words/phrases, understand a situation of usage and also listen to a native pronunciationof a word/phrase.
Uncanny Bodies - The Coming of Sound Film and the Origins of the Horror Genre
In 1931 Universal Pictures released "Dracula "and "Frankenstein, "two films that inaugurated the horror genre in Hollywood cinema. These films appeared directly on the heels of Hollywood's transition to sound film. "Uncanny Bodies "argues that the coming of sound inspired more in these massively influential horror movies than screams, creaking doors, and howling wolves. A close examination of the historical reception of films of the transition period reveals that sound films could seem to their earliest viewers unreal and ghostly.
Alanis Obomsawin - The Vision of a Native Filmmaker
In more than twenty powerful films, Abenaki filmmaker Alanis Obomsawin has waged a brilliant battle against the ignorance and stereotypes that Native Americans have long endured in cinema and television. In this book, the first devoted to any Native filmmaker, Obomsawin receives her due as the central figure in the development of indigenous media in North America. Incorporating history, politics, and film theory into a compelling narrative, Randolph Lewis explores the life and work of a multifaceted woman whose career was flourishing long before Native films such as Smoke Signals reached the screen.
Designed to help movie watchers analyze films with precision and technical sophistication, this book focuses on formalism—how the forms of the film (e.g., camera work, editing, photography, etc.) create meaning. It sheds light on how television and movies communicate, and the complex network of language systems they use. Chapter topics cover recent developments from all aspects of cinema, contemporary films, personalities in the field, photography, movement, editing, sound, acting, drama, story writing, and theory. For movie critics and fans alike.
