Movies and Meaning
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|Author||: Stephen Prince|
|Editor||: Prentice Hall|
Updated in a new 6th edition, Movies and Meaning is a comprehensive introduction to the film industry that focuses on three topics: how movies express meanings, how viewers understand those meanings, and how cinema functions globally as both an art and a business. It examines both how filmmakers create images and sounds and the mechanisms and processes by which viewers make sense of images and stories on screen.
|Author||: Stephen Prince|
|Editor||: Allyn & Bacon|
Movies and Meaning is a comprehensive introduction to the film industry that focuses on three topics: how movies express meanings, how viewers understand those meanings, and how cinema functions globally as both an art and a business. It examines both how filmmakers create images and sounds and the mechanisms and processes by which viewers make sense of images and stories on screen.
|Author||: Kimberly A. Blessing,Paul Tudico|
|Editor||: Open Court|
"The meaning of life is the most urgent of questions," said the existentiallist thinker Albert Camus. And no less a philosopher than Woody Allen has wondered:"How is it possible to find meaning in a finite world, given my waist and shirt size?" "Movies and the Meaning of Life" looks at popular and cult movies, examining their assumptions and insights on meaning-of-life questions: What is reality and how can I know it? (The Truman Show, Contact, Waking Life); How do I find myself and my true identity? (Fight Club, Being John Malkovich, Boys Don't Cry, Memento); How do I find meaning from my interactions with others? (Pulp Fiction, Shadowlands, Chasing Amy); What is the chief purpose in life? (American Beauty, Life is Beautiful, The Shawshank Redemption); and How ought I live my life? (Pleasantville, Spiderman, Minority Report, Groundhog Day).
|Author||: Daniel Shaw|
|Editor||: Bloomsbury Publishing|
This book pairs close readings of some of the classic writings of existentialist philosophers with interpretations of films that reveal striking parallels to each of those texts, demonstrating their respective philosophies in action. Individual chapters include significant excerpts from the original texts being discussed and illustrated. Pairings cover Schopenhauer and Waking Life, Stirner and Hud, Kierkegaard and Winter Light, Nietzsche and The Fountainhead, Heidegger, Blade Runner and The Thin Red Line, Camus, Leaving Las Vegas and Missing, Sartre, Husbands and Wives, and Michael Collins, de Beauvoir and Revolutionary Road, and Foucault and One Flew Over the Cuckoo's Nest. Movies with Meaning offers a clear and insightful examination of the relationships between existential philosophers and film, providing both digests of their most significant texts and cinematic illustrations of what each had in mind. For the first time in one place, this book analyses the implications for film of the perspectives of a wide array of the most significant existentialist thinkers. Organized chronologically, like most existentialism anthologies, this is an ideal textbook for an intermediate level existentialism course, or as a companion to a selection of primary texts.
|Author||: Alex Pappademas|
A tribute to and exploration of the magic behind one of Hollywood's most legendary and unknowable stars, Keanu Reeves, and the profound lessons we can learn from his success There can be no doubt: Keanu Reeves is a phenomenon. He’s at once a badass action star, a hunky dreamboat who People magazine has called “the Internet’s boyfriend,” a vintage motorcycle enthusiast, a niche art book publisher, a living meme, and a legend. He seems to upend every rule governing celebrity in the 21st century. But how? In Keanu Reeves: Most Triumphant, cultural critic Alex Pappademas attempts to address Keanu’s unmatched eternality and the other big questions raised by his career arc. Sharp, funny, deeply researched, and fully celebratory of the enigmatic actor, this is the first book to take Keanu’s whole deal as seriously as it deserves. Yes, even Johnny Mnemonic, where Keanu mind melds with a dolphin. Along the way, Pappademas reveals the lessons we can learn from Keanu about Hollywood, our broader culture, and even life itself.
|Author||: David BORDWELL,David Bordwell|
|Editor||: Harvard University Press|
David Bordwell's new book is at once a history of film criticism, an analysis of how critics interpret film, and a proposal for an alternative program for film studies. It is an anatomy of film criticism meant to reset the agenda for film scholarship. As such Making Meaning should be a landmark book, a focus for debate from which future film study will evolve. Bordwell systematically maps different strategies for interpreting films and making meaning, illustrating his points with a vast array of examples from Western film criticism. Following an introductory chapter that sets out the terms and scope of the argument, Bordwell goes on to show how critical institutions constrain and contain the very practices they promote, and how the interpretation of texts has become a central preoccupation of the humanities. He gives lucid accounts of the development of film criticism in France, Britain, and the United States since World War II; analyzes this development through two important types of criticism, thematic-explicatory and symptomatic; and shows that both types, usually seen as antithetical, in fact have much in common. These diverse and even warring schools of criticism share conventional, rhetorical, and problem-solving techniques--a point that has broad-ranging implications for the way critics practice their art. The book concludes with a survey of the alternatives to criticism based on interpretation and, finally, with the proposal that a historical poetics of cinema offers the most fruitful framework for film analysis.
|Author||: Neil Archer|
|Editor||: Columbia University Press|
Though often seen as one of America's native cinematic genres, the road movie has lent itself to diverse international contexts and inspired a host of filmmakers. As analyzed in this study, from its most familiar origins in Hollywood the road movie has become a global film practice, whether as a vehicle for exploring the relationship between various national contexts and American cinema, as a means of narrating different national and continental histories, or as a form of individual filmmaking expression. Beginning with key films from Depression-era Hollywood and the New Hollywood of the late 1960s and then considering its wider effect on world cinemas, this volume maps the development and adaptability of an enduring genre, studying iconic films along the way.
|Author||: Grant Horner|
|Editor||: Crossway Books|
Looking at Christianity and art, the theology of biblical discernment, and a brief history of film, and through analysis of several films, this book equips Christians to think carefully about the art of film.
|Author||: Erdem, M. Nur,Kocabay-Sener, Nihal,Demir, Tu?ba|
|Editor||: IGI Global|
Individuals seek ways to repress the sense of violence within themselves and often resort to medial channels. The hunger of the individual for violence is a trigger for the generation of violent content by media, owners of political power, owners of religious power, etc. However, this content is produced considering the individual’s sensitivities. Thus, violence is aestheticized. Aesthetics of violence appear in different fields and in different forms. In order to analyze it, an interdisciplinary perspective is required. The Handbook of Research on Aestheticization of Violence, Horror, and Power brings together two different concepts that seem incompatible—aesthetics and violence—and focuses on the basic motives of aestheticizing and presenting violence in different fields and genres, as well as the role of audience reception. Seeking to reveal this togetherness with different methods, research, analyses, and findings in different fields that include media, urban design, art, and mythology, the book covers the aestheticization of fear, power, and violence in such mediums as public relations, digital games, and performance art. This comprehensive reference is an ideal source for researchers, academicians, and students working in the fields of media, culture, art, politics, architecture, aesthetics, history, cultural anthropology, and more.
|Author||: Peter Wollen|
|Editor||: Bloomsbury Publishing|
First published in 1969, Signs and Meaning in the Cinema transformed the emerging discipline of film studies. Remarkably eclectic and informed, Peter Wollen's highly influential and groundbreaking work remains a brilliant and accessible theorisation of film as an art form and as a sign system. The book is divided into three main sections. The first explores the work of Sergei Eisenstein as film-maker, designer and aesthetician. The second, which contains a celebrated comparison of the films of John Ford and Howard Hawks, is an exposition and defence of the auteur theory. The third formulates a semiology of the cinema, invoking cinema as an exemplary test-case for comparative aesthetics and general theories of signification. Wollen's Conclusion argues for an avant-garde cinema, bringing post-structuralist ideas into his discussion of Godard and other contemporaries. Published as part of the BFI Silver series, this fifth edition features a new foreword by film theorist David Rodowick and brings together material from the four previous editions, inviting the reader to trace the development of Wollen's thinking, and the unfolding of the discourse of cinema.
|Author||: Victor H. Green|
|Editor||: Colchis Books|
The idea of "The Green Book" is to give the Motorist and Tourist a Guide not only of the Hotels and Tourist Homes in all of the large cities, but other classifications that will be found useful wherever he may be. Also facts and information that the Negro Motorist can use and depend upon. There are thousands of places that the public doesn't know about and aren't listed. Perhaps you know of some? If so send in their names and addresses and the kind of business, so that we might pass it along to the rest of your fellow Motorists. You will find it handy on your travels, whether at home or in some other state, and is up to date. Each year we are compiling new lists as some of these places move, or go out of business and new business places are started giving added employment to members of our race.
|Author||: John Reich|
|Editor||: Open SUNY Textbooks|
Exploring Movie Construction & Production contains eight chapters of the major areas of film construction and production. The discussion covers theme, genre, narrative structure, character portrayal, story, plot, directing style, cinematography, and editing. Important terminology is defined and types of analysis are discussed and demonstrated. An extended example of how a movie description reflects the setting, narrative structure, or directing style is used throughout the book to illustrate building blocks of each theme. This approach to film instruction and analysis has proved beneficial to increasing students¿ learning, while enhancing the creativity and critical thinking of the student.
|Author||: Robert Capozzi,Cynthia Bové|
Reel Vision is a first-of-its-kind cinematic guide that provides an in-depth exploration of the deeper metaphysical meanings and spiritual themes contained in The Matrix, Dark City, Inception, Revolver, and Vanilla Sky. Since movies are non-stop and fast-paced, this book breaks down -- scene-by-scene and step-by-step -- the hidden messages that movie-watchers can easily miss. Films like these have the potential to provide powerful spiritual insight. As we suspend our judgment and allow a film to temporarily become our "reality," pathways into new perspectives are unlocked. Since films involve words, concepts, and human interactions, they offer us life-like images that allow us to conduct playful thought experiments where profound insights can be gained and enhanced in delightfully unparalleled ways.
|Author||: Travis M. Andrews|
An irreverent yet deeply researched biography about the always offbeat, suddenly meme-able, and wildly popular actor When did you first encounter Jeff Goldblum? Maybe as a deranged killer in his 1974 screen debut in Death Wish? Maybe as a cynical journalist in 1983s The Big Chill? Or a brilliant if egotistical scientist-turned-fly in 1986s The Fly? Perhaps as the wise-cracking skeptical mathematician in 1993s Jurassic Park? Or maybe you’re not a film buff but noticed his face as part of one of the Internet’s earliest memes. Who knows? Whenever it was, you’ve probably noticed that Goldblum has become one of Hollywood’s most enduring actors, someone who only seems to grow more famous, more heralded, more beloved through the decades, even though he’s always followed his own, strange muse. The guy primarily plays jazz music these days, but is more famous than ever. Actor, pianist, husband, father, style icon, meme. Goldblum contains multitudes, but why? What does he mean? The Washington Post’s Travis M. Andrews decided to find out. And so he set out on a journey through Goldblum's career, talking to directors like Lawrence Kasdan and Philip Kaufman, colleagues like Harry Shearer and Billy Crudup, and pop culture experts like Chuck Klosterman and Sean Fennessey, to get to the bottom of this whole Goldblum thing. And then he took what he learned and he wrote this book, which is titled Because He’s Jeff Goldblum and is the best thing written since The Brothers Karamazov and slightly easier to follow. But you should already know that. In this new semi-biography, semi-rumination, and semi-ridiculous look at the career of Goldblum, Andrews takes you behind the scenes of his iconic movies, explores the shifting nature of fame in the twenty-first century, and spends far too much time converting Goldblum’s name into various forms of speech. Want to hear how Goldblum saved a script supervisor from an amorous baboon? Or what he would write on the mirror after taking showers when he was a teenager? How about his feelings on various brands of throat lozenges? (That one could be an entire book unto itself.) Then this is the book for you!
|Author||: Jesse Fox Mayshark|
Provides a deep look into the varied work and common bonds of a group of young American directors including Wes Anderson, P. T. Anderson, Sofia Coppola, Richard Kelly, Richard Linklater, and David O. Russell.
|Author||: David P. Neumeyer|
|Editor||: Indiana University Press|
By exploring the relationship between music and the moving image in film narrative, David Neumeyer shows that film music is not conceptually separate from sound or dialogue, but that all three are manipulated and continually interact in the larger acoustical world of the sound track. In a medium in which the image has traditionally trumped sound, Neumeyer turns our attention to the voice as the mechanism through which narrative (dialog, speech) and sound (sound effects, music) come together. Complemented by music examples, illustrations, and contributions by James Buhler, Meaning and Interpretation of Music in Cinema is the capstone of Neumeyer’s 25-year project in the analysis and interpretation of music in film.
|Author||: Lynn Painter|
|Editor||: Simon and Schuster|
In this rom-com about rom-coms, in the spirit of Kasie West and Jenn Bennett, a hopeless romantic teen attempts to secure a happily-ever-after moment with her forever crush, but finds herself reluctantly drawn to the boy next door. Perpetual daydreamer Liz Buxbaum gave her heart to Michael a long time ago. But her cool, aloof forever crush never really saw her before he moved away. Now that he’s back in town, Liz will do whatever it takes to get on his radar—and maybe snag him as a prom date—even befriend Wes Bennet. The annoyingly attractive next-door neighbor might seem like a prime candidate for romantic comedy fantasies, but Wes has only been a pain in Liz’s butt since they were kids. Pranks involving frogs and decapitated lawn gnomes do not a potential boyfriend make. Yet, somehow, Wes and Michael are hitting it off, which means Wes is Liz’s in. But as Liz and Wes scheme to get Liz noticed by Michael so she can have her magical prom moment, she’s shocked to discover that she likes being around Wes. And as they continue to grow closer, she must reexamine everything she thought she knew about love—and rethink her own ideas of what Happily Ever After should look like.
|Author||: Tobias Pontara|
Andrei Tarkovsky's Sounding Cinema adds a new dimension to our understanding and appreciation of the work of Russian director Andrei Tarkovsky (1932–1986) through an exploration of the presence of music and sound in his films. The first comprehensive study in English concentrating on the soundtrack in Tarkovsky’s cinema, this book reveals how Tarkovsky’s use of electronic music, electronically manipulated sound, traditional folk songs and fragments of canonized works of Western art music plays into the philosophical, existential and ethical themes recurring throughout his work. Exploring the multilayered relationship between music, sound, film image and narrative space, Pontara provides penetrating and innovative close readings of Solaris (1972), Mirror (1975), Stalker (1979), Nostalghia (1983) and The Sacrifice (1986) and in turn deeply enriches critical understanding of Tarkovsky’s films and their relation to the broader traditions of European art cinema. An excellent resource for scholars, researchers and students interested in European art cinema and the role of music in film, as well as for film aficionados interested in Tarkovsky’s work.