Hfilp 2005

Houses, in the Argentine and Chilean films of the early twenty-first century, provide much more than a backdrop to on-screen drama. Nor are they simply refuges from political turmoil or spaces of oppression. Remaking Home argues that domestic spaces are instead the medium through which new, fragile common identities are constructed. The varied documentary and fiction films analyzed here, which include an early work by Oscar winner Sebastián Lelio, use the domestic sphere as a laboratory in which to experiment with narrative, audiovisual techniques, and social configurations. Where previous scholarship has focused on the social fragmentation and political disillusionment visible in contemporary film, Remaking Home argues that in order to understand the political agency of contemporary cinema, it is necessary to move beyond deconstructive critical approaches to Latin American culture. In doing so, it expands the theoretical scope of studies in Latin American cinema by finding new points of contact between the cultural critique of Nelly Richard, the work of Bruno Latour, and theories of new materialism.

(Screen World). "An invaluable reference guide for anyone who loves film." Back Stage Movie fans eagerly await each year's new edition of Screen World , the definitive record of the cinema since 1949. Volume 56 provides an illustrated listing of every significant American and foreign film released in the United States in 2004, documented with more than 1000 color and black-and-white photographs. The 2005 edition highlights Clint Eastwood's Million Dollar Baby , which won four Academy Awards, including Best Picture, Best Director, Best Actress in a Leading Role (Hilary Swank) and Best Actor in a Supporting Role for Morgan Freeman, his first Oscar. Martin Scorsese's The Aviator picked up five Academy Awards. Other notable films include Hotel Rwanda starring Academy Award nominees Don Cheadle and Sophie Okonedo. As always, Screen World also includes a pricelss reference on over 2,400 living stars; Obituaries for 2004; The top box office stars and top 100 box office films; A comprehensive index; and more.

THE STORY: On the eve of her twenty-fifth birthday, Catherine, a troubled young woman, has spent years caring for her brilliant but unstable father, a famous mathematician. Now, following his death, she must deal with her own volatile emotions; the

This book examines the on-site experiences of film-induced tourists at various film locations, including locations from The Lord of the Rings, Star Wars and The Sound of Music. The study attempts to understand the needs and wants of film location tourists and also examines how to use films for destination marketing.

Selected by the Modern Library as one of the 100 best nonfiction books of all time From the Modern Library’s new set of beautifully repackaged hardcover classics by Truman Capote—also available are Breakfast at Tiffany’s and Other Voices, Other Rooms (in one volume), Portraits and Observations, and The Complete Stories Truman Capote’s masterpiece, In Cold Blood, created a sensation when it was first published, serially, in The New Yorker in 1965. The intensively researched, atmospheric narrative of the lives of the Clutter family of Holcomb, Kansas, and of the two men, Richard Eugene Hickock and Perry Edward Smith, who brutally killed them on the night of November 15, 1959, is the seminal work of the “new journalism.” Perry Smith is one of the great dark characters of American literature, full of contradictory emotions. “I thought he was a very nice gentleman,” he says of Herb Clutter. “Soft-spoken. I thought so right up to the moment I cut his throat.” Told in chapters that alternate between the Clutter household and the approach of Smith and Hickock in their black Chevrolet, then between the investigation of the case and the killers’ flight, Capote’s account is so detailed that the reader comes to feel almost like a participant in the events.

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.

An introduction to the horror film genre.

From the bestselling author of The Passenger and the Pulitzer Prize–winning novel The Road comes a "profoundly disturbing and gorgeously rendered" novel (The Washington Post) that returns to the Texas-Mexico border, setting of the famed Border Trilogy. The time is our own, when rustlers have given way to drug-runners and small towns have become free-fire zones. One day, a good old boy named Llewellyn Moss finds a pickup truck surrounded by a bodyguard of dead men. A load of heroin and two million dollars in cash are still in the back. When Moss takes the money, he sets off a chain reaction of catastrophic violence that not even the law—in the person of aging, disillusioned Sheriff Bell—can contain. As Moss tries to evade his pursuers—in particular a mysterious mastermind who flips coins for human lives—McCarthy simultaneously strips down the American crime novel and broadens its concerns to encompass themes as ancient as the Bible and as bloodily contemporary as this morning’s headlines. No Country for Old Men is a triumph. Look for Cormac McCarthy's latest bestselling novels, The Passenger and Stella Maris.

This richly detailed examination of two forms of American entertainment focuses on the various ways that radio stations and air personalities have been depicted in motion pictures, from 1926's The Radio Detective to more recent films like 2022's Halloween Ends. Newly updated and revised chapters cover the cinematic portrayals of various aspects of radio, including disc jockeys, sports broadcasts, religious programs and abnormal personalities on the air. Such films as The Big Broadcast (1932), Reveille with Beverly (1943), Mister Rock and Roll (1957), WUSA (1970), Radio Days (1987), Private Parts (1997), We Are Marshall (2006) and Straight Outta Compton (2015) provide fascinating insights into not only their own times but also the historical eras that some of these films have attempted to recreate.

Begun in 2010 as part of the “Histories of Literatures in European Languages” series sponsored by the International Comparative Literature Association, the current project on New Literary Hybrids in the Age of Multimedia Expression recognizes the global shift toward the visual and the virtual in all areas of textuality: the printed, verbal text is increasingly joined with the visual, often electronic, text. This shift has opened up new domains of human achievement in art and culture. The international roster of 24 contributors to this volume pursue a broad range of issues under four sets of questions that allow a larger conversation to emerge, both inside the volume’s sections and between them. The four sections cover, 1) Multimedia Productions in Theoretical and Historical Perspective; 2) Regional and Intercultural Projects; 3) Forms and Genres; and, 4) Readers and Rewriters in Multimedia Environments. The essays included in this volume are examples of the kinds of projects and inquiries that have become possible at the interface between literature and other media, new and old. They emphasize the extent to which hypertextual, multimedia, and virtual reality technologies have enhanced the sociality of reading and writing, enabling more people to interact than ever before. At the same time, however, they warn that, as long as these technologies are used to reinforce old habits of reading/ writing, they will deliver modest results. One of the major tasks pursued by the contributors to this volume is to integrate literature in the global informational environment where it can function as an imaginative partner, teaching its interpretive competencies to other components of the cultural landscape.