Besides products and services multinational corporations also sell myths, values and immaterial goods. Such 'meta-goods' (e.g. prestige, beauty, strength) are major selling points in the context of successful marketing and advertising. Fashion adverts draw on deeply rooted human values, ideals and desires such as values and symbols of social recognition, beautification and rejuvenation. Althoug…
Cinematic Independence traces the emergence, demise, and rebirth of big-screen film exhibition in Nigeria. Film companies flocked to Nigeria in the years following independence, beginning a long history of interventions by Hollywood and corporate America. The 1980s and 1990s saw a shuttering of cinemas, which were almost entirely replaced by television and direct-to-video movies. However, after…
Towards a Feminist Cinematic Ethics develops an account of non-normative ethics that can be used to think about filmmaking and viewing, using two philosophers—Emmanuel Levinas and Jean-Luc Nancy, and the work of filmmaker Claire Denis. In an accessible and engaging manner, it offers new readings of Denis' films, situating them within larger feminist, postcolonial and queer debates about …
Looking at films that represent the experience of displacement in relation to Turkey’s minorities, Aesthetics of Displacement argues that there is a particular aesthetic continuity among the otherwise unrelated films. Ozlem Koksal focuses on films that bring taboo issues concerning the repression of minorities into visibility, arguing that the changing political and social conditions determin…
With six Academy Awards, four entries on the American Film Institute’s list of 100 greatest American movies, and more titles on the National Historic Register of classic films deemed worthy of preservation than any other director, Billy Wilder counts as one of the most accomplished filmmakers ever to work in Hollywood. Yet how American is Billy Wilder, the Jewish émigré from Central Europe?…
Wag the Dog became a media event and a cultural icon because it inadvertently short-circuited the distance that is supposed to separate reality and fiction. The examination of the historical and social context in which it was produced, exhibited and received worldwide enables the author to illuminate a series of changes in the way a fiction film reflects and interacts with reality, urging us to…
Emotional Excess on the Shakespearean Stage demonstrates the links made between excess of emotion and madness in the early modern period. It argues that the ways in which today's popular and theatrical cultures judge how much is too much can distort our understanding of early modern drama and theatre. It argues that permitting the excesses of the early modern drama onto the contemporary stage m…
From the silent era through the 1950s, the U.S. Department of Agriculture was the preeminent government filmmaking organization. In the United States, USDA films were shown in movie theaters, public and private schools at all educational levels, churches, libraries and even in open fields. For many Americans in the early 1900s, the USDA films were the first motion pictures they watched. And yet…
Although overlooked by most narratives of American cinema history, films made for purposes outside of theatrical entertainment dominated twentieth-century motion picture production. This volume adds to the growing study of nontheatrical films by focusing on the way filmmakers developed and audiences encountered ideas about race, identity, politics, and community outside the borders of theatrica…
"In this book, Thomas J. Connelly draws on a number of key psychoanalytic concepts from the works of Jacques Lacan, Slavoj Žižek, Joan Copjec, Michel Chion, and Todd McGowan to identify and describe a genre of cinema characterized by spatial confinement. Examining classic films such as Alfred Hitchcock's Rope and Stanley Kubrick's The Shining, as well as current films such as Room, Green Room…