Film and Television

America on Film: Representing Race, Class, Gender, and Sexuality in the Movies is a lively introduction to issues of diversity as represented within the American cinema. Introduces issues of diversity as represented within the American cinema in a lively and accessible manner. Provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality. Is designed specifically for students and includes 101 illustrations, a glossary of key terms, questions for discussion, and lists for futher reading and further viewing. Includes case studies of a number of films, including The Lion King, The Jazz Singer, Smoke Signals, The Grapes of Wrath, and The Celluloid Closet. Each chapter features a concise overview of the topic at hand, a discussion of representative films, figures, and movements, and an in-depth analysis of a single film.

Art & Makeup is a stunning showcase of work created by award-winning make-up artist, Lan Nguyen-Grealis. The looks created specially for the book are inspired by the worlds of art, sculpture, cinema and performance art - references include Picasso, Warhol, Marie Antoinette, Cleopatra, Mad Men and The Great Gatsby. The book combines inspirational imagery with step-by-step deconstruction of the techniques, and includes photography from Rankin.

The study of pre-existing film music is now a well-established part of Film Studies, covering 'classical' music and popular music. Generally, these broad musical types are studied in isolation. This anthology brings them together in twelve focused case studies by a range of scholars, including Claudia Gorbman, Jeongwon Joe, Raymond Knapp, and Timothy Warner. The first section explores art music, both instrumental and operatic; it revolves around the debate on the relation between the aural and visual tracks, and whether pre-existing music has an integrative function or not. The second section is devoted to popular music in film, and shows how very similar the functions of popular music in film are to the supposedly more 'elite' classical music and opera. Case studies in part 1: Eyes Wide Shut, Raging Bull, Brief Encounter, Détective, The Godfather Part III, three versions of the Carmen story (DeMille's, Preminger's and Rosi's), Amadeus, The Birth of a Nation, M: Eine Stadt sucht einen Mörder, Needful Things, Rat Race. Case studies in part 2: various films by Almodóvar, Young Frankenstein, Pulp Fiction, Trainspotting, Amélie, High Fidelity, Ghost World, Heavenly Creatures, The Virgin Suicides, and the video Timber by Coldcut.

The second edition of the Chicano Studies Reader brings this best-selling anthology up to date with a new section, "Continuing to Push Boundaries." Five additional essays address current issues, including cross-disciplinary studies, investigations of mass media and public culture, and explorations of the intersection of race, sexuality, and citizenship. These essays correspond to the themes that organize the original set of essays: "Decolonizing the Territory," "Performing Politics," "Configuring Identities, and Remapping the World." The revised edition documents the foundation of Chicano studies, testifies to its broad disciplinary range, and explores its continuing development. The contributors are Eric Avila, Maxine Baca Zinn, Gilberto Cárdenas, David Carrasco, Angie Chabram-Dernersesian, John Alba Cutler, Karen Mary Davalos, Adelaida R. Del Castillo, Shifra M. Goldman, Juan Gómez-Quiñones, Deena J. González, Ramón A. Gutiérrez, Jorge A. Huerta, Jessica E. Jones, Chon A. Noriega, Américo Paredes, Fernando Peñalosa, Rafael Pérez-Torres, Beatriz M. Pesquera, David Román, Robert Chao Romero, Rosaura Sánchez, Chela Sandoval, Alex M. Saragoza, Denise A. Segura, Marian E. Schlotterbeck, Adaljiza Sosa-Riddell, Kay Turner, and Steven S. Volk.

The original foreign film--its sights and sounds--is available to all, but the viewer is utterly dependent on a translator and an untold number of technicians who produce the graphic text or disconnected speech through which we must approach the foreign film. A bad translation can ruin a film's beauty, muddy its plot, and turn any joke sour. In this wide-ranging work, Abé Mark Nornes examines the relationships between moving-image media and translation and contends that film was a globalized medium from its beginning and that its transnational traffic has been greatly influenced by interpreters. He discusses the translation of film theory, interpretation at festivals and for coproductions, silent era practice, " talkies," subtitling, and dubbing. Nornes--who has written subtitles for Japanese cinema--looks at the ways misprision of theory translations produced stylistic change, how silent era lecturers contributed to the construction of national cinemas, how subtitlers can learn from anime fans, and how ultimately interpreters can be, in his terms, "traders or traitors." Abé Mark Nornes is associate professor of Asian languages and cultures and film and video studies at the University of Michigan. He is the author of Japanese Documentary Film (Minnesota, 2003) and Forest of Pressure (Minnesota, 2007).

Does the digital era spell the death of cinema as we know it? Or is it merely heralding its rebirth? Are we witnessing the emergence of something entirely new? Cinema in the Digital Age examines the fate of cinema in this new era, paying special attention to the technologies that are reshaping film and their cultural impact. Examining Festen (1998), The Blair Witch Project (1999), Timecode (2000), Russian Ark (2002), The Ring (2002), among others, this volume explores how these films are haunted by their analogue past and suggests that their signature element are their deliberate imperfections, whether those take the form of blurry or pixilated images, shakey camera work, or other elements reminding viewers of the human hand guiding the camera. Weaving together a rich variety of sources, Cinema in the Digital Age provides a deeply humanistic look at the meaning of cinematic images in the era of digital perfection.

Born in Taiwan, Ang Lee is one of cinema's most versatile and daring directors. His ability to cut across cultural, national, and sexual boundaries has given him recognition in all corners of the world, the ability to work with complete artistic freedom whether inside or outside of Hollywood, and two Academy Awards for Best Director. He has won astounding critical acclaim for Crouching Tiger, Hidden Dragon (2000), which transformed the status of martial arts films across the globe, Brokeback Mountain (2005), which challenged the reception and presentation of homosexuality in mainstream cinema, and Life of Pi (2012), Lee's first use of groundbreaking 3D technology and his first foray into complex spiritual themes. In this volume, the only full-length study of Lee's work, Whitney Crothers Dilley analyzes all of his career to date: Lee's early Chinese trilogy films (including The Wedding Banquet, 1993, and Eat Drink Man Woman, 1994), period drama (Sense and Sensibility, 1995), martial arts (Crouching Tiger, Hidden Dragon, 2000), blockbusters (Hulk, 2003), and intimate portraits of wartime psychology, from the Confederate side of the Civil War (Ride with the Devil, 1999) to Japanese-occupied Shanghai (Lust/Caution, 2007). Dilley examines Lee's favored themes such as father/son relationships and intergenerational conflict in The Ice Storm (1997) and Taking Woodstock (2009). By looking at the beginnings of Lee's career, Dilley positions the filmmaker's work within the roots of the Taiwan New Cinema movement, as well as the larger context of world cinema. Using suggestive readings of both gender and identity, this new study not only provides a valuable academic resource but also an enjoyable read that uncovers the enormous appeal of this acclaimed director.

 The world of cinematography has changed more in the last few years than it has since it has in 1929, when sound recording was introduced. New technology, new tools and new methods have revolutionized the art and craft of telling stories visually. While some aspects of visual language, lighting and color are eternal, shooting methods, workflow and cameras have changed radically. Even experienced film artists have a need to update and review new methods and equipment. These change affect not only the director of photography but also the director, the camera assistants, gaffers, and digital imaging technicians. Cinematography: Theory and Practice covers both the artistry and craftsmanship of cinematography and visual storytelling. Few art forms are as tied to their tools and technology as is cinematography. Take your mastery of these new tools, techniques, and roles to the next level with this cutting-edge roadmap from author and filmmaker Blain Brown. Whether you are a student of filmmaking, just breaking into the business, currently working in the industry and looking to move up to the next level, or an experienced professional who wants to update their knowledge of tools and techniques, this book provides both a basic introduction to these issues as well as more advanced and in-depth coverage of the subject. The companion website features additional material, including lighting demonstrations, basic methods of lighting, using diffusion and other topics. Topics Include: Visual language Visual storytelling Continuity and coverage Cameras and digital sensors Exposure techniques for film and video Color in-depth Understanding digital images Waveform monitors, vectorscopes, and test charts Using linear, gamma, and log encoded video Image control and grading on the set The tools and basics of film lighting ASC-CDL, ACES and other new methods Optics and focus Camera movement Set operations Green screen, high speed and other topics

Cultures of Representation is the first book to explore the cinematic portrayal of disability in films from across the globe. Contributors explore classic and recent works from Belgium, France, Germany, India, Italy, Iran, Japan, Korea, Mexico, Netherlands, Russia, Senegal, and Spain, along with a pair of globally resonant Anglophone films. Anchored by David T. Mitchell and Sharon L. Snyder's coauthored essay on global disability-film festivals, the volume's content spans from 1950 to today, addressing socially disabling forces rendered visible in the representation of physical, developmental, cognitive, and psychiatric disabilities. Essays emphasize well-known global figures, directors, and industries - from Temple Grandin to Pedro Almodóvar, from Akira Kurosawa to Bollywood - while also shining a light on films from less frequently studied cultural locations such as those portrayed in the Iranian and Korean New Waves. Whether covering postwar Italy, postcolonial Senegal, or twenty-first century Russia, the essays in this volume will appeal to scholars, undergraduates, and general readers alike.

We all talk about the "tube" or "box," as if television were simply another appliance like the refrigerator or toaster oven. But Cecilia Tichi argues that TV is actually an environment--a pervasive screen-world that saturates almost every aspect of modern life. In Electronic Hearth, she looks at how that environment evolved, and how it, in turn, has shaped the American experience. Tichi explores almost fifty years of writing about television--in novels, cartoons, journalism, advertising, and critical books and articles--to define the role of television in the American consciousness. She examines early TV advertising to show how the industry tried to position the new device as not just a gadget but a prestigious new piece of furniture, a highly prized addition to the home. The television set, she writes, has emerged as a new electronic hearth--the center of family activity. John Updike described this "primitive appeal of the hearth" in Roger's Version: "Television is--its irresistable charm--a fire. Entering an empty room, we turn it on, and a talking face flares into being." Sitting in front of the TV, Americans exist in a safety zone, free from the hostility and violence of the outside world. She also discusses long-standing suspicions of TV viewing: its often solitary, almost autoerotic character, its supposed numbing of the minds and imagination of children, and assertions that watching television drugs the minds of Americans. Television has been seen as treacherous territory for public figures, from generals to presidents, where satire and broadcast journalism often deflate their authority. And the print culture of journalism and book publishing has waged a decades-long war of survival against it--only to see new TV generations embrace both the box and the book as a part of their cultural world. In today's culture, she writes, we have become "teleconscious"--seeing, for example, real life being certified through television ("as seen on TV"), and television constantly ratified through its universal presence in art, movies, music, comic strips, fabric prints, and even references to TV on TV. Ranging far beyond the bounds of the broadcast industry, Tichi provides a history of contemporary American culture, a culture defined by the television environment. Intensively researched and insightfully written, The Electronic Hearth offers a new understanding of a critical, but much-maligned, aspect of modern life.

The vital synergy between dress and the cinema has been in place since the advent of film. Broaching topics such as vampires, noir, and Marie Antoinette looks, Fashion in Film uncovers the way in which the alliance of these two powerhouse industries use myriad cultural influences -- shaping narrative, national identity, and all points in between. Contributor essays address international films from early cinema to the present, drawing on the classic and the innovative. This abundantly illustrated collection reveals that fashion in conjunction with film must be understood in a different way from fashion tout simple.

Fashion on Television provides a comprehensive critical examination of the intersection between fashion, television and celebrity culture. The book brings together theoretical approaches to the symbolic force of television and fashion-forward programming on a global scale. Examining case studies such as Sex and the City, Gossip Girl, Ugly Betty and Mad Men, the book examines how TV has made style icons out of leading actresses and fashion-conscious consumers out of audiences. Using a varied methodology, including textual and contextual analysis, this study explores the cultural uses of onscreen fashion at the level of industry, text and intertext. Fashion on Television is essential reading for those seeking to understand the cultural function of costume in a television context. Written accessibly with a multi-disciplinary approach, it will appeal to students and scholars from film and media, fashion and cultural studies, to sociology and women's studies.

Over the past decade, as digital media has expanded and print outlets have declined, pundits have bemoaned a "crisis of criticism" and mourned the "death of the critic." Now that well-paying jobs in film criticism have largely evaporated, while blogs, message boards, and social media have given new meaning to the saying that "everyone's a critic," urgent questions have emerged about the status and purpose of film criticism in the twenty-first century.    In Film Criticism in the Digital Age, ten scholars from across the globe come together to consider whether we are witnessing the extinction of serious film criticism or seeing the start of its rebirth in a new form. Drawing from a wide variety of case studies and methodological perspectives, the book's contributors find many signs of the film critic's declining clout, but they also locate surprising examples of how critics--whether moonlighting bloggers or salaried writers--have been able to intervene in current popular discourse about arts and culture.   In addition to collecting a plethora of scholarly perspectives, Film Criticism in the Digital Age includes statements from key bloggers and print critics, like Armond White and Nick James. Neither an uncritical celebration of digital culture nor a jeremiad against it, this anthology offers a comprehensive look at the challenges and possibilities that the Internet brings to the evaluation, promotion, and explanation of artistic works.       

Movies, stars, auteurs, critics, and the sheer excitement of cinema come together in film festivals as quintessential constellations of art, business, and glamour. Yet, how well do we actually understand the forces and meanings that these events embody? Film Festivals offers the first comprehensive overview of the history, people, films, and multiple functions of the festival world. From Sundance to Hong Kong, from the glitter of Cannes to edgier festivals that challenge boundaries or foster LGBTQ cultural production, film festivals celebrate art, promote business, bring cinema to diverse audiences, and raise key issues about how we see our world. Cindy Hing-Yuk Wong situates festivals within changing global practices of film, including their important ties to both Hollywood and independent cinema. She explores how these events have become central in the construction of cinema knowledge as well as the behind-the-scene mechanics of finance, distribution, and evaluation. By linking general structures and connections to specific films and auteurs, Wong addresses the components and creation of film festivals that continue to reshape filmmaking as art and business.

Twelve essays written between 1928 and 1945 that demonstrate key points in the development of Eisenstein’s film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an Introduction by Jay Leyda; Index; photographs and diagrams.

During its forty years as a forum for scholars, filmmakers, critics, and film lovers, Film Quarterly has looked in depth at the most critical elements in the political, social, theoretical, and aesthetic history of the cinema. Once closely tied to Hollywood, the journal was investigated by the Tenney committee in 1946 and two of its board members came under fire from the House Un-American Activities Committee in 1951. After several metamorphoses, however, and with the dedicated participation of its editors, board members, and authors, the journal now stands as the oldest and most prominent journal in cinema studies, publishing film (and video and television) history, criticism, theory, analysis, interviews, and film and book reviews. Spanning the 1950s to the 1990s, Film Quarterly: Forty Years--A Selection is a collaborative effort by the past and present editors and the editorial board to celebrate and illuminate the medium that has prompted so much thought and exchange during the journal's lifetime. From articles on documentary and genre to history and technology, narrative and the avant-garde, this carefully selected collection proposes groundbreaking theoretical models, fresh approaches to individual film classics, reassessments of filmmakers' bodies of work, and discussions of new films and technologies.

With an in-depth look at the two most empowering years in the life of Marilyn Monroe, The Girl details how The Seven Year Itch created an icon and sent the star on an adventure of self-discovery and transformation from a controlled wife and contract player into a businesswoman and unlikely feminist whose power is still felt today. When Marilyn Monroe stepped over a subway grating as The Girl in The Seven Year Itch and let a gust of wind catch the skirt of her pleated white dress, an icon was born. Before that, the actress was mainly known for a nude calendar and one-dimensional, albeit memorable, characters on the screen. Though she again played a "dumb blonde" in this film and was making headlines by revealing her enviable anatomy, the star was now every bit in control of her image, and ready for a personal revolution. Emboldened by her winning fight to land the role of The Girl, the making of The Seven Year Itch and the eighteen months that followed was the period of greatest confidence, liberation, and career success that Monroe lived in her tumultuous life. It was a time in which, among other things, she: Ended her marriage to Joe DiMaggio and later began a relationship with Arthur Miller; Legally changed her name to Marilyn Monroe, divorcing herself from the troubled past of Norma Jeane; Started her own production company; Studied in private lessons with Lee and Paula Strasberg of the Actors Studio and became a part of the acting revolution of the day The ripple effects her personal rebellion had on Hollywood, and in trailblazing the way for women that followed, will both surprise and inspire readers to see the Marilyn Monroe in an entirely new light.

Was Alfred Hitchcock a cynical trifler with his audience's emotions, as he liked to pretend? Or was he a profoundly humane artist? Most commentators leave Hitchcock's self-assessment unquestioned, but this book shows that his movies convey an affectionate, hopeful understanding of human nature and the redemptive possibilities of love. Lesley Brill discusses Hitchcock's work as a whole and examines in detail twenty-two films, from perennial favorites like North by Northwest to neglected masterpieces like Rich and Strange.

Throughout the history of cinema, horror has proven to be a genre of consistent popularity, which adapts to different cultural contexts while retaining a recognizable core. Horror Film- A Critical Introduction, the newest in Bloomsbury's Film Genre series, balances the discussions of horror 's history, theory, and aesthetics as no introductory book ever has. Featuring studies of films both obscure and famous, Horror Film is international in its scope and chronicles horror from its silent roots until today. As a straightforward and convenient critical introduction to the history and key academic approaches, this book is accessible to the beginner but still of interest to the expert.

From one of the masters of twentieth-century cinema comes this indispensable and entertaining guide to a visionary new form of moviemaking. So convinced is Francis Ford Coppola that "live cinema" will become a powerful medium within the larger film industry that he has crafted this instructional book, filled with lively anecdotes and invaluable lessons¯a boon for moviegoers, film students, and teachers alike. As digital moviemaking, like live sports, can now be performed by one director or by a collaborative team working across the Internet, it is only a matter of time before "cinema auteurs" will create "live" movies of the highest creative quality that will be sent instantly via satellite to be viewed in faraway theaters. Whether recounting his own boyhood obsession with film, tracing the origins of "live cinema" through a history of early film and live 1950s television shows, or presenting state-of-the-art techniques on everything from rehearsals to equipment, Coppola demonstrates that the spontaneity of this genre of "live cinema" will transport filmmaking into a new era of creativity previously unimaginable. 20 illustrations

From Arthur Laurents, playwright, screenwriter, director—a mesmerizing book about theater, the art, the artist, the insider, the outsider—and the making of two of the greatest musicals of the American stage, West Side Story and Gypsy. It is a book profoundly enriched by the author’s two loves, love for the theater and love for his partner of fifty-two years, Tom Hatcher, who shared and inspired every aspect of his life and his work. Laurents writes about the musicals he directed, I Can Get It for You Wholesale, its producer David Merrick (the “Abominable Showman”), and its (very young) stars Barbra Streisand and Elliott Gould . . . He writes about Stephen Sondheim’s Anyone Can Whistle, which starred Angela Lansbury and Lee Remick, marking the debut for each in musical theater. He summons up the challenges and surprises that came with the making of La Cage aux Folles, the first big Broadway musical that was gay and glad to be. He writes in rich detail about his most recent production of Gypsy, how it began as an act of love, a love that spread through the entire company and resulted in a Gypsy unlike any other. And about his new bilingual production of West Side Story. And he talks, as well, about the works of other directors—Fiddler on the Roof; Kiss Me, Kate; Spring Awakening; Street Scene; The Phantom of the Opera; LoveMusik; Sweeney Todd. Moving, exhilarating, provocative—a portrait of an artist working with other artists; a unique close-up look at today’s American musical theater by a man who’s been at its red-hot center for more than five decades.

Leading film historian Jeanine Basinger reveals, with her trademark wit and zest, the whole story of the Hollywood musical--in the most telling, most incisive, most detailed, most gorgeously illustrated book of her long and remarkable career. From Fred Astaire, whom she adores, to La La Land, which she deplores, Basinger examines a dazzling array of stars, strategies, talents, and innovations in the history of musical cinema. Whether analyzing a classic Gene Kelly routine, relishing a Nelson-Jeanette operetta, or touting a dynamic hip hop number (in the underrated Idlewild), she is a canny and charismatic guide to the many ways that song and dance have been seen--and heard--on film. With extensive portraits of everyone from Al Jolson, the Jazz Singer; to Doris Day, whose iconic sunniness has overshadowed her dramatic talents; from Deanna Durbin, that lovable teen-star of the '30s and '40s; to Shirley T. and Judy G.; from Bing to Frank to Elvis; from Ann Miller to Ann-Margret; from Disney to Chicago . . . focusing on many beloved, iconic films (Top Hat; Singin' in the Rain; Meet Me in St. Louis; The Sound of Music) as well as unduly obscure gems (Eddie Cantor's Whoopee!; Murder at the Vanities; Sun Valley Serenade; One from the Heart), this book is astute, informative, and pure pleasure to read.

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.

The position of emotion in music has been a subject of considerable interest and debate. However emotional aspects of music have received surprising little attention in the 45 years since the publication of Leonard Meyer's classic work 'Emotion and meaning in music.' During that time, both'music psychology' and 'emotion' have developed as lively areas of research, and the time is fitting therefore to try and bring together this multidisciplinary interest and take stock of what we now know about this important relationship. A new volume in the Series in Affective Science, Music andEmotion; Theory and Research brings together leading researchers interested in both these topics to present the first integrative review of this subject. The first section reflects the various interdisciplinary perspectives, taking on board views from philosophy, psychology, musicology, biology,anthropology, and sociology. The second section addresses the role of our emotions in the composition of music, the ways that emotions can be communicated via musical structures, the use of music to express emotions within the cinema. The third section looks at the emotions of the performer - how dothey communicate emotion, how does their emotional state affect their own performance. The final section looks at the ways in which our emotions are guided and influenced while listening to music, whether actively or passively. Music and Emotion is a timely book, one that will interestpsychologists, musicologists, music educators, and philosophers.

Spanning nine decades and showcasing the most memorable songs, dazzling dancing, and brightest stars ever to grace the silver screen, Must-See Musicals is the guide to the greatest musicals of all time from the most trusted authority on film: Turner Classic Movies. Movie musicals have been a part of pop culture since films began to talk, over nine decades ago. From The Jazz Singer in 1927 all the way to La La Land in modern times, musicals have sung and danced over a vast amount of territory, thrilling audiences the entire time. More than any other type of entertainment, musicals transport us to marvelous places: a Technicolor land over the rainbow in The Wizard of Oz; a romantic ballroom where, in Top Hat, Fred Astaire and Ginger Rogers dance cheek to cheek; a London theater where the Beatles perform before hysterical crowds in A Hard Day's Night; even to a seemingly alternate reality where eager throngs still throw rice as they watch The Rocky Horror Picture Show. These titles, and many more, show us that a great musical film is a timeless joy. Covering fifty of the best spanning the dawn of sound to the high-def present, Turner Classic Movies: Must-See Musicals-written by renowned musical historian Richard Barrios-is filled with lush illustrations as well as enlightening commentary and entertaining "backstage" stories about every one of these unforgettable films.

Since the early days of the silent era, Native Americans have been captured on film, often in unflattering ways. Over the decades, some filmmakers have tried to portray the Native American on screen with more balanced interpretations--to varying degrees of success. More recent films such as The New World, Flags of Our Fathers, and Frozen River have offered depictions of both historical and contemporary Native Americans, providing viewers with a range of representations. In Native Americans in the Movies: Portrayals from Silent Films to the Present, Michael Hilger surveys more than a century of cinema. Drawing upon his previous work, From Savage to Nobleman, Hilger presents a thorough revision of the earlier volume. The introductory material has not only been revised with updated information and examples but also adds discussions of representative films produced since the mid-1990s. Now organized alphabetically, the entries on individual films cover all relevant works made over the past century, and each entry contains much more information than those in the earlier book. Details include -film summary -nation represented -image portrayal -production details -DVD availability Many of the entries also contain comments from film critics to indicate how the movies were regarded at the time of their theatrical release. Supplemented by appendixes of image portrayals, representations of nations, and a list of made-for-television movies, this volume offers readers a comprehensive and up-to-date overview of hundreds of films in which Native American characters have appeared on the big screen. As such, Native Americans in the Movies will appeal not only to scholars of media, ethnic studies, and history but also to anyone interested in the portrayal of Native Americans in cinema.

Want access to the best-kept secrets and tips for sounding and looking professional while presenting on-camera for television? This is your toolkit. Reardon's On Camera: How to Report Anchor and Interview teaches you how to become professional and effective on camera. Learn how to appear, and feel, at ease-whether doing an interview or reporting in the field, or whether reading copy from a prompter or giving a video presentation. Read about what tricks the pros use to get the best interview answers from their subjects. . Nancy Reardon reveals a career's worth of inside stories from the world of reporting-insights toward helping you develop your professional skills . Get the scoop on job techniques and essentials: how to anchor, report & interview with the hallmarks of a pro . The CD-ROM is a course in itself, with video examples of how to interview on-camera, prompter copy for you to practice your reading and breathing techniques These are the nuts and bolts of how to do the job at the network level or as a backpack journalist so that when you're standing in front of the camera, in the studio, or out on location-you know what you're doing. Nancy gives you techniques behind professional on camera presentation, with exercises drawn from her years of teaching. The book, co-written by Tom Flynn with decades of experience at the networks, provides tricks of the trade and some surprising-but-true stories from inside the business. Presenting on camera is not limited to television. Today, most businesses require you to be media savvy. You have to learn how to comfortably present yourself in video conferences, as well as videotaped messages to large and small groups. Whether you are new to television or have experience in front of the camera, you can improve on your current skills by reflecting on the career-focused tips and tried-and-true principles inside this book's cover-all oriented to skills development. The book's CD-ROM contains instructional videos, an interactive feature story that allows you to write, edit and read your script, as well as vocal technique demonstration videos led by the author. Included is prompter copy that you will get nowhere else. It gives you the experience of reading a script from the prompter just as the pros do in the studio. We hope you enjoy the witty drawings by New Yorker cartoonist W. Miller, which illustrate on camera positioning!

From its humble beginnings as a novelty in a handful of cities, cinema has risen to become a billion- dollar industry and the most spectacular and original contemporary art form. It has spread to all parts of the globe, and is enjoyed by audiences that cut across all sections of society.The Oxford History of World Cinema traces the history of this enduringly popular entertainment medium. Covering all aspects of its development, stars, studios, and cultural impact, the book celebrates and chronicles over one hundred years of diverse achievement from westerns to the New Wave, fromanimation to the Avant-Garde, and from Hollywood to Hong Kong. An international team of distinguished film historians tells the story of the major inventions and developments in the cinema business, its institutions, genres, and personnel; other chapters outline the evolution of national cinemasround the world - the varied and distinctive filmic traditions that have developed alongside Hollywood. A unique aspect of the book are the special inset features on the film-makers and personalities - Garbo and Godard, Keaton and Kurosawa, Bugs Bunny and Bergman - who have had an enduring impact inpopular memory and cinematic lore. With over 300 illustrations, a full bibliography, and an extensive index, this is the buff's ultimate guide to cinema worldwide.

In an era where digital media converges with new technologies that allow for cropping, remixing, extracting, and pirating, a second life for traditional media appears via the internet and emerging platforms. Pink 2.0 examines the mechanisms through which the internet and associated technologies both produce and limit the intelligibility of contemporary queer cinema. Challenging conventional conceptions of the internet as an exceptionally queer medium, Noah A. Tsika explores the constraints that publishers, advertisers, and content farms place on queer cinema as a category of production, distribution, and reception. He shows how the commercial internet is increasingly characterized by the algorithmic reduction of diverse queer films to the dimensions of a highly valued white, middle-class gay masculinity--a phenomenon that he terms "Pink 2.0." Excavating a rich set of online materials through the practice of media archaeology, he demonstrates how the internet's early and intense associations with gay male consumers (and vice versa) have not only survived the medium's dramatic global expansion but have also shaped a series of strategies for producing and consuming queer cinema. Identifying alternatives to such corporate and technological constraints, Tsika uncovers the vibrant lives of queer cinema in the complex, contentious, and libidinous pockets of the internet where resistant forms of queer fandom thrive.

Racial and ethnic inclusiveness has grown to be more important in the Untied States as its society has become increasingly diverse. Racism, Sexism, and the Media: The Rise of Class Communication in Multicultural America, Third Edition examines how people of color fit into the fabric of America and how the media tell them and others how they fit. Authors Clint C. Wilson, Félix Gutiérrez, and Lena M. Chao perceive the rise of class communication as a result of the convergence of new media technologies and continued demographic segmentation of audiences as people of color grow as media targets and markets. The Third Edition of Racism, Sexism, and the Media includes updated content on topics covered in the previous editions, such as film, television, radio, newspaper, magazine, advertising, and public relations. This edition incorporates new material on women of color, including an integrated assessment of their media experiences. The authors have arranged the chapters to facilitate a logical approach to the subject, providing readers more access to understanding how the media represent minorities.

With more than 250 images, new information on international cinema--especially Polish, Chinese, Russian, Canadian, and Iranian filmmakers--an expanded section on African-American filmmakers, updated discussions of new works by major American directors, and a new section on the rise of comic book movies and computer generated special effects, this is the most up to date resource for film history courses in the twenty-first century.  

The films of Spike Lee consider not only race, but also the blurred interconnections among race, gender, sexuality, and class. These essays aim to spark dialogue and encourage a continuing consideration of the depth and complexity of Spike Lee's career.

Teaching Sound Film: A Reader is a film analysis-and-criticism textbook that contains 35 essays on 35 geographically diverse, historically significant sound films. The countries represented here are France, Italy, England, Belgium, Russia, India, China, Cuba, Germany, Japan, Russia, Romania, Czechoslovakia, Brazil, Taiwan, Austria, Afghanistan, South Korea, Finland, Burkina Faso, Mexico, Iran, Israel, Colombia, and the United States. The directors represented include Jean Renoir, Orson Welles , Akira Kurosawa , Federico Fellini, Woody Allen, Aki Kaurism ki, Ken Loach, Tom s Guti rrez Alea, Abbas Kiarostami, Michael Haneke, and Hong Sang-soo. Written with university students (and possibly also advanced high school students) in mind, the essays in Teaching Sound Film: A Reader cover some of the central films treated--and central issues raised--in today's cinema courses and provide students with practical models to help them improve their own writing and analytical skills. These essays a re clear and readable--that is, sophisticated and meaty yet not overly technical or jargon-heavy. This makes them perfect introductions to their respective films as well as important contributions to the field of film studies in general. Moreover, this book's scholarly apparatus features credits, images, bibliographies for all films discussed, filmographies for all the directors, a list of topics for writing and discussion, a glossary of film terms, and an appendix containing three essays, respectively, on film acting, avant-garde cinema, and theater vs. film.

Television, long regarded as mere `entertainment' is now being seriously considered for its significance in all our lives. This is the first illustrated international history of our most influential cultural phenomenon.Written by a distinguished team of experts, it traces the evolution of television from the earliest times to the present, assessing its impact in Europe, America, Japan, Australia, Africa, and the Third World. Extensively illustrated and accessibly written, Television: An International History is amajor exploration of the world's most dominant medium.

In just a few years, what used to be an immobile piece of living room furniture, which one had to sit in front of at appointed times in order to watch sponsored programming on a finite number of channels, morphed into a glowing cloud of screens with access to a near-endless supply of content available when and how viewers want it. With this phenomenon now a common cultural theme, a writer of David Thomson's stature delivering a critical history, or "biography" of the six-decade television era, will be a significant event which could not be more timely. With Television, the critic and film historian who wrote what Sight and Sound's readers called "the most important film book of the last 50 years" has finally turned his unique powers of observation to the medium that has swallowed film whole.Over twenty-two thematically organized chapters, Thomson brings his provocatively insightful and unique voice to the life of what was television. David Thomson surveying a Boschian landscape, illuminated by that singular glow--always "on"--and peopled by everyone from Donna Reed to Dennis Potter, will be the first complete history of the defining medium of our time.

This book, based on the television series of the same name, explains that the way we view art is often relative to our attitudes and background knowledge.

Taken as a whole, the sixteen remarkable films discussed in this provocative new volume of essays represent the brilliant creativity that flourished in the name of German cinema between the wars. Encompassing early gangster pictures and science fiction, avant-garde and fantasy films, sexual intrigues and love stories, the classics of silent cinema and Germany's first talkies, each chapter illuminates, among other things: the technological advancements of a given film, its detailed production history, its critical reception over time, and the place it occupies within the larger history of the German studio and of Weimar cinema in general. Readers can revisit the careers of such acclaimed directors as F. W. Murnau, Fritz Lang, and G. W. Pabst and examine the debuts of such international stars as Greta Garbo, Louise Brooks, and Marlene Dietrich. Training a keen eye on Weimer cinema's unusual richness and formal innovation, this anthology is an essential guide to the revolutionary styles, genres, and aesthetics that continue to fascinate us today.

Until now, there hasn't been one single-volume authoritative reference work on the history of women in film, highlighting nearly every woman filmmaker from the dawn of cinema including Alice Guy (France, 1896), Chantal Akerman (Belgium), Penny Marshall (U.S.), and Sally Potter (U.K.). Every effort has been made to include every kind of woman filmmaker: commercial and mainstream, avant-garde, and minority, and to give a complete cross-section of the work of these remarkable women. Scholars and students of film, popular culture, Women's Studies, and International Studies, as well as film buffs will learn much from this work. The Dictionary covers the careers of nearly 200 women filmmakers, giving vital statistics where available, listings of films directed by these women, and selected bibliographies for further reading. This is a one-volume, one-stop resource, a comprehensive, up-to-date guide that is absolutely essential for any course offering an overview or survey of women's cinema. It offers not only all available statistics, but critical evaluations of the filmmakers' work as well. In order to keep the length manageable, this volume focuses on women who direct fictional narrative films, with occasional forays into the area of the documentary and is limited to film production rather than video production.