Bücher der Reihe Routledge Advances in Film Studies

Identifies a trend in post-Production Code films that deal with lesbian content. This book demonstrates how the standard repertoire of visual techniques and spatial devices (the elements of mise-en-scene, favoured locations and sets, classical systems of editing, and the implied story world itself) are used to scaffold female sexual visibility.

Through a comparative approach of theories developed on ideology and an analysis of official documents from the Vatican and the United States Department of State, this book investigates the decisive role that American production companies played in the development of the Italian film industry and their links to the Vatican.

Since its inception, cinema has evolved into not merely a 'reflection' but an indispensable index of human experience. This title provides a comparative theorization of the representation of memory in both mainstream Hollywood and international art cinema within an increasingly transnational context of production and reception.

In this edited volume, an international ensemble of scholars looks at how the world¿s various cinemas, including Asia, Africa, Latin America, Europe, and the U.S., have variously performed, contested, and reinforced the worldwide transition to neoliberalism. Grounded in Marxist theory, the volume considers how the contradictions of capital, both as culture and commerce, have played out globally in contemporary media culture.

Compares and contrasts the development of cinema in Korea during the Japanese occupation (1910-1945) and US Army Military (1945-1948) periods within the larger context of cinemas in occupied territories. This project investigates key moments in Korea's cinematic history.

This collection examines the exchange of Asian identities at the levels of both film production and film reception amongst pan-Pacific cinemas. Topics include the reception of Hollywood films by Asian audiences, the construction of raced and gendered identity in Thai, Japanese, and Hong Kong cinemas, and pan-Pacific co-productions.

This comprehensive collection provides theoretical accounts of the grounds and phenomenon of film acting. Each section proposes novel ways of considering the recurring motifs in academic enquiries into film acting.

This interdisciplinary study forwards a productive pairing of Asian cinema and space, in which space is used as a discursive tool to understand Asian cinema. The variety of spaces examined includes natural geographic elements, buildings, cities, and landscapes, both urban and rural.

Hollywood Remembrance and American War addresses the synergy between Hollywood war films and American forms of war remembrance. This book develops a theoretical understanding of how Hollywood war films, as rhetorical sites of remembering and memory, reflect, replicate and resist American modes of remembrance.

Through a series of detailed film case histories ranging from The Great Dictator to Hiroshima mon amour to The Lives of Others, The Aesthetics of Antifascist Film: Radical Projection explores the genesis and recurrence of antifascist aesthetics as it manifests in the WWII, Cold War and Post-Wall historical periods.

This volume brings together original research on religion and cinema. Contributors look beyond the film text, content, or aesthetics, instead concentrating on the cinema-related actions, strategies, and policies developed by the Catholic Church and Catholic organizations in order to influence cinema.

This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators¿ affective and emotional engagement with film, which can function as a moral ground for one¿s connection to others and to the world outside the self. Contributors explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films.

The contention of Film and the American Presidency is that over the twentieth century the cinema has been a silent partner in setting the parameters of what we might call the presidential imaginary. This volume surveys the partnership in its longevity, placing stress on especially iconic presidents such as Lincoln and FDR. The contributions to this collection probe the rich interactions between these high institutions of culture and politics¿Hollywood and the presidency¿and argue that not only did Hollywood acting become an idiom for presidential style, but that Hollywood early on understood its own identity through the presidency¿s peculiar mix of national epic and unified protagonist.