new titles
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47 | FILM AUTHORSHIPAuteurs and Other MythsC. Paul SellorsJune 2010 Film Authorship analyses the historical development and theoretical underpinnings of the concepts of film authorship and the auteur, and evaluates these debates in a rigorous and accessible manner. |
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REVISIONING 007James Bond and Casino RoyaleChristoph LindnerJune 2010 Treating Casino Royale as a case study, Revisioning 007 offers readings of the film and its interrelations with the Bond franchise, the culture industry and recent developments in cinema, society and world politics. |
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THE CINEMA OF INDIALalitha GopalanJune 2010 Assembling writings by renowned scholars of Indian cinema, Cinema of India provides a novel framework with which to approach Indian cinema, as well as acknowledging its reception both nationally and globally. |
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INTERNATIONAL FILM GUIDE 2010 (46TH EDITION)The Definitive Annual Review of World Cinema (OUT FEB '10)Ian Haydn Smith (ed.)February 2010 Widely regarded as the most authoritative and trusted source of information on contemporary world cinema, the International Film Guide offers an overview of trends and changes in global cinema across the last 12 months. |
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FILM VIOLENCEHistory, Ideology, GenreJames KendrickDecember 2009 A concise and accessible introduction to the role violence has played in the cinema from the silent era to the present. |
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NEW KOREAN CINEMABreaking the WavesDarcy PaquetDecember 2009 New Korean Cinema charts the dramatic transformation of South Korea's film industry from the democratisation movement of the late 1980s to the ascent of a new generation of directors in the 2000s. |
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FANTASY CINEMAImpossible Worlds on ScreenDavid ButlerOctober 2009 'This introduction's multifaceted approach provides a model for future scholars and students of this important film genre.' - Joshua David Bellin, La Roche College |
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THE PERSONAL CAMERASubjective Cinema and the Essay FilmLaura RascaroliOctober 2009 This book provides novel answers to some of the seminal questions of cinema: on the nature of the cinematographic experience, on authorship and spectatorship, on the filmic commitment to truth and on the state of subjectivity today. |