new titles
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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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Electric Sheep magazine: Winter 2009I Fought the LawDecember 2009 The winter 09 issue of Electric Sheep looks at what makes a cinematic outlaw: read about the misdeeds of low-life gangsters, gentlemen thieves, deadly females, modern terrorists, cop killers and vigilantes, bikers and banned filmmakers. |
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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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POST-CLASSICAL CINEMAAn International Poetics of Film NarrationEleftheria ThanouliOctober 2009 Does the term ‘post-classical' have any relevance in current debates on contemporary cinema? |
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NEO-NOIRMark Bould, Kathrina Glitre and Greg Tuck (eds)October 2009 Neo-noir knows its past. It knows the rules of the game - and how to break them. This wide-ranging collection maps out the terrain, combining genre, stylistic and textual analysis with Marxist, feminist, psychoanalytic and industrial approaches. |
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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. |