All entries for Saturday 14 June 2008
June 14, 2008
Film Studies Books Hub Page
This page will provide internal links to film studies book reviews from Kinoeye it will also provide external links to good quality film studies reviews when these are discovered.
Kinoeye Film Studies Book Reviews
Italian Neorealism: Rebuilding the Cinematic City. 2006. Mark Shiel. Wallflower Press Short Cuts. Review
External Film Studies Book Reviews
History on Film/Film on History R. A. Rosenstone.California Institute of Technology Pearson Education, Harlow, 2006 .James Chapman
Scope Magazine. The Flash of Capital: Film and Geopolitics in Japan. Eric Cazdyn.
Scope Magazine. Enjoy Your Symptom!: Jacques Lacan In Hollywood and Out (Revised Edition). Slavoj Zizek
Scope Magazine. Review by Graeme Harper. Hollywood and Europe: Economics, Culture and National Identity 1945-1995. By Geoffrey Nowell-Smith and Steven Ricci (eds.). London: BFI
Scope Magazine review by David Inglis: Matthew Tinkcom and Amy Villarejo (eds.). Keyframes: Popular Cinema and Cultural Studies. London and New York: Routledge, 2001.
Scope Magazine Review by Karen Boyle. The Film Studies Dictionary By Steven Blandford, Barry Keith Grant & Jim Hillier. London: Arnold
Scope Magazine. Jean Vigo by Michael Temple
Film Philosophy Review by Davina Quinlivan: Caroline Bainbridge (2007). The Cinema of Lars von Trier: Authenticity and Artifice. Wallflower Press: London
Film Philosophy by Thorsten Botz-Bornstein Review by : Stacy Gillis. Ed. (2005). The Matrix Triology: Cyberpunk Reloaded. Wallflower Press: London and New York
Robert Baird. Vertigo: The Making of a Hitchcock Classic by Dan Auiler. St. Martin's Press
Review by David Seed. Fredric Jameson. Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions. Verso Books, 2007
(Although not strictly film studies Jameson's criticism is very interdisciplinary. Given the importance of SF as a genre in film as well as fiction it seems sensible to include it here.)
Reviewed by Nathan Abrams. Linda Ruth Williams and Michael Hammond, eds., Contemporary American Cinema. Maidenhead: Open University Press, 2006.
Review by Yannis Tzioumakis. The End of Cinema as we Know it: American Film in the Nineties. Jon Lewis. Pluto Press, 2002.
Review by Jan Uhde. The Film Studies Dictionary. By Steve Blandford, Barry Keith Grant, Jim HillierStud.
Arnold Publishers (London) and Oxford University Press (New York), 2001
Film Studies Textbooks
Personally I have a distinct dislike of the 'Textbook' they frequently treat the reader like a a complete idiot and do bitesize spoonfeeding with little exercises which seem artificial but are a publishing staple. If more blogs and websites like this one were developed they could become a thing of the past however teachers in the UK at least like to cling to the textbooks. It means you can set studnets something to do when you've run out of ideas I think. Nevertheless they are in common useage. I came across a very usefult blog page which had decided to do an overview of the availble film studies textbooks.
Architecture and cinema have an interrelated history: World renowned directors such as Fritz Lang and Segei Eisenstein had an architectural training. Increasing architecture is being recognised as a media form as well as having many other facets to it. Similarly cinema as a media form requires exhibitionary space in which to function. The architecture of cinemas has been an important development especially in the 20th century. How important cinemas will remain as exhibition spaces remains to be seen, just as what is actually shown in them is now possibly about to change as real time HD streaming of live events is become an everyday reality. On this page there are some videos representing architecture. A vast range of these can be viewed at the Architectural Videos Blog and for those with a very strong interest in architecture this site comes highly recommended.
Daniel Liebeskind: The Jewish Museum Berlin
Walter Gropius: The Bauhaus
The Bauhaus can in many ways be considered as an iconic building symbolising a return to a discourse of optimism and progress in the Weimar Republic. It was built soon after the Dawes plan was instituted to stabilise the German economy which had been suffering from severe hyperinflation. The revived economy, at least in the areas of lighter industry, was the perfect market for industrial designs; an area in which the Bauhaus soon came to be a world leader. Gropius was both an architect in his own right as well as being the director of the Bauhaus although architecture wasn't actually taught there during his time as director. However several students worked in his private office. The type of modernism with which the Bauhaus aesthetic cam to be linked was New Objectivity (Neuesachlichkeit) steered clear of Soviet Constructivism and also broke with the various strands of Expressionism prevalent in the Weimar aesthetic consciousness after the First World War. This was very much an anti-industrial feeling generated because of the mechanised mass killing of the First World War. There is of course a link between the Bauhaus and the Jewish Museum because the Bauhaus was eventually forced to leave its site in Dessau because it was persecuted by the local Nazis. It closed down very shortly after the Reichstag Fire and the takeover of the Nazis in the Spring of 1933.
More to come later.