Books

A lavishly illustrated coffee-table book celebrating thirty years of artwork from the Criterion Collection. The most exciting names in design and illustration today apply their talents to some of the most important and influential films of all time. This volume gathers highlights from designs commissioned by the Criterion Collection, featuring covers, supplemental art, and never-before-seen sketches and concept art plus a gallery of every Criterion cover since the collection’s first laserdisc in 1984. From avant-garde experiments to big-budget blockbusters, cult favorites to the towering classics of world cinema, the depth and breadth of what film can be is on display in these striking images. Whether painstakingly faithful re-creations or bold reimaginings, the diverse designs collected here offer new ways for cinephiles and design aficionados alike to engage with the world’s greatest filmmakers .Read More »

Conducting the first comprehensive study of films that do not move, Justin Remes challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Reading experimental films such as Andy Warhol’s Empire (1964), the Fluxus work Disappearing Music for Face (1965), Michael Snow’s So Is This (1982), and Derek Jarman’s Blue (1993), he shows how motionless films defiantly showcase the static while collapsing the boundaries between cinema, photography, painting, and literature.Read More »

Movie parade, 1888-1949 : a pictorial survey of world cinema
by Paul Rotha and Roger Manvell

Paperback
Publisher: Studio Publications (1950)
ASIN: B007T2QOGQRead More »

The Very Witching Time of Night: Dark Alleys of Classic Horror Cinema
by Gregory William Mank
Paperback: 444 pages
Publisher: McFarland & Company
Language: English
ISBN-10: 0786449551
ISBN-13: 978-0786449552Read More »

Cult Crime Movies: Discover the 35 Best Dark, Dangerous, Thrilling and Noir Cinema Classics
by Danny Peary
Print Length: 451 pages
Publisher: Workman Publishing Company (December 2, 2014)
Language: English
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Winner of the 2014 Limina Award for Best International Film Studies Book
Originally released as a videographic experiment in film history, Jean-Luc Godard’s Histoire(s) du cinéma has been widely hailed as a landmark in how we think about and narrate cinema history, and in how history is taught through cinema. In this stunningly illustrated volume, Michael Witt explores Godard’s landmark work as both a specimen of an artist’s vision and a philosophical statement on the history of film. Witt contextualizes Godard’s theories and approaches to historiography and provides a guide to the wide-ranging cinematic, aesthetic, and cultural forces that shaped Godard’s groundbreaking ideas on the history of cinema.Read More »

The reality of transnational innovation and dissemination of new technologies, including digital media, has yet to make a dent in the deep-seated culturalism that insists on reinscribing a divide between the West and Japan, even in realms of technological activity that are quite evidently dispersed across cultures. Film and media studies are not immune to this trend. They continue to fret over the “Westernness” of film technologies vis-à-vis the apparently self-evident “Japaneseness” of other modes of cultural production. The main goal of The Oxford Handbook of Japanese Cinema is to counter this trend toward dichotomizing the West and Japan and to challenge the pervasive culturalism of today’s film and media studies. This volume addresses productive debates about what Japanese cinema is, where Japanese cinema is, and where Japanese cinema is going at the period of crisis of national boundary under globalization. In order to do so, this volume attempts to foster dialogue between Japanese scholars of Japanese cinema, film scholars of Japanese cinema based in Anglo-American and European countries, film scholars of non-Japanese cinema, film archivists, film critics, and filmmakers familiar with film scholarship.Read More »

Focusing on ten films that span the range of the twentieth century, Thomas Leitch traces the transformation of three figures common to all crime films: the criminal, the victim and the avenger. He shows how the distinctions among them become blurred throughout the course of the century, reflecting and fostering a deep social ambivalence towards crime and criminals. The criminal, victim and avenger characters effectively map the shifting relations between subgenres (such as the erotic thriller and the police film) within the larger genre of crime film.Read More »

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