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Expressionism in the Cinema
One of the most visually striking traditions in cinema, for too long Expressionism has been a neglected critical category of research in film history and aesthetics. The fifteen essays in this anthology remedies this by revisiting key German films like The Cabinet of Dr. Caligari (1920) and Nosferatu (1922), and also provide original critical research into more obscure titles like Nerven (1919) and The Phantom Carriage (1921), films that were produced in the silent and early sound era in countries ranging from France, Sweden and Hungary, to the United States and Mexico.An innovative and wide-ranging collection, Expressionism in the Cinema re-canonizes the classical Expressionist aesthetic, extending the critical and historical discussion beyond pre-existing scholarship into comparative and interdisciplinary areas of film research that reach across national boundaries.
Toward a Socially Responsible Psychology for a Global Era
This book explores the concept of “socially-responsible psychology in a global age” and how it might be used to organize, integrate and bring enhanced focus a field that has the potential to contribute to solutions to the world’s most pressing problems. In this volume, the editors explore the central and defining features of socially-responsible psychology, challenges that this work would face, and the mechanisms and processes by which psychological work could be synergistically integrated with the work of other disciplines. For this purpose, the volume also examines a variety of factors currently that limit psychology in carrying out this goal.
Up from the Vault
A number of thrillers made in the 1920s and 1930s have become available again thanks to new technology. There are a few, however, that remain elusive to most, if not all, movie buffs. This book covers 21 thrillers from those decades that are well-regarded and eagerly sought, but difficult to find--The Mystery of Dr. Fu Manchu (1923), The Unknown Purple (1923), The Sorrows of Satan (1926), While London Sleeps (1926), The Monkey Talks (1927), The Chinese Parrot (1927), Stark Mad (1929), The Unholy Night (1929), High Treason (1929), The Spider (1931), Eran Trece (1931), The Monkey's Paw (1933), Trick for Trick (1933), Deluge (1933), The Vanishing Shadow (1934), The Witching Hour (1934), Double Door (1934), Black Moon (1934), Le Golem (1936), The Scarab Murder Case (1937), and Sh! The Octopus (1937). For each film, the author provides such details as the production company, running time, release date(s), cast and production credits, a synopsis, and commentary.
A Place of Darkness
“An illuminating history . . . it’s clear that the right story can still terrify us; A Place of Darkness is a primer on how the movies learned to do it.” —NPR Horror is one of the most enduringly popular genres in cinema. The term “horror film” was coined in 1931 between the premiere of Dracula and the release of Frankenstein, but monsters, ghosts, demons, and supernatural and horrific themes have been popular with American audiences since the emergence of novelty cinematographic attractions in the late 1890s. A Place of Darkness illuminates the prehistory of the horror genre by tracing the way horrific elements and stories were portrayed in films prior to the introduction of the...
The Perils of Moviegoing in America
Recaptures the lost history of the physical and moral perils that faced audiences at American movie theatres during the first fifty years of the cinema.
Conrad Veidt on Screen
Conrad Veidt, a native of Berlin, began acting in small parts as an extra until called into service during World War I. After his discharge he began a theater career that subsequently led to films and more than one turn as a director. This work thoroughly details Veidt's film career. It lists all movies that he was involved in and provides a synopsis, cast and crew, and reviews of each film. There are many photographs, a list of films that he is thought possibly to have been involved in, and an extensive bibliography.
Fractured Fifties
"Fractured Fifties: The Cinematic Periodization and Evolution of a Decade presents a two-pronged argument that (1) cinema has helped define the 1950s by contributing in considerable and meaningful ways to the process of periodization and thus a general conception of the decade, and (2) cinema has fractured our sense of the 1950s. It challenges a reductive and fairly cohesive set of tropes with a complex amalgam of representations that also intervene in debates about historiography, historicity, cultural memory, mediation, nostalgia, and periodization. In other words, cinema has fractured our sense of the 1950s, yielding in the process a series of 1950s types or kinds, (e.g., The Leave it to Beaver Fifties, The Jukebox Fifties, and The Cold War Fifties, The Retromediated Fifties, etc.) as well as a wealth of critical insights into myriad pasts, presents, and the evolving relationships between them"--
Girls Will Be Boys
2016 Choice Outstanding Academic Title Finalist for 2016 Richard Wall Memorial Award by the Theatre Library Long listed for the 2017 Kraszna-Krausz Best Photography Book Award from the Kraszna-Krausz Foundation Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the cinematic cross-dressing they performed onscreen. What few modern viewers realize, however, is that these seemingly daring performances of the 1930s actually came at the tail end of a long wave of gender-bending films that included more than 400 movies featuring women dressed as men. Laura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934...
What Ought to Scare You
Using the Hollywood studio system (1931-1960) as a historical center, this book performs close readings of classic horror films (such as Frankenstein and Cat People) while asking the following three questions: What about this movie is weird? What does this movie think ought to scare you? If there weren't monsters in this movie, what would be wrong with these people's lives? These questions guide readers toward the uniqueness of horror films in relation to the way they are classified and the feeling of "horror" that they offer. The horror genre is a collection of culturally-shared elements--words, images, or themes used to signify or evoke horror, because they have been used that way before. ...
