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Zornado reads Disney's full-length animated features of the \u0026amp;quote;golden era\u0026amp;quote; as symbolic responses to cultural and personal catastrophe, and presents Disneyland as a monument to Disney fantasy and one man's singular, perverse desire. What follows after is a discussion of the \u0026amp;quote;second golden age\u0026amp;quote; of Disney and the rise of Pixar Animation as neoliberal nostalgia in crisis. The study ends with a reading of George Lucas as latter-day Disney and Star Wars as Disney fantasy. 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Gilmore identifies how philosophy and film complement and enrich one another and explores their relationship by connecting classic wisdom texts to significant movies. For example, the volume analyzes the Coen brothers' films The Big Lebowski and A Serious Man in light of The Book of Job. Gilmore considers the ancient idea of philosophy as \u0026amp;quote;spiritual exercise\u0026amp;quote; and a way of life. The volume concludes by examining what the author labels \u0026amp;quote;sublime conversations\u0026amp;quote; as the highest expression of philosophy. The book identifies and dissects these conversations in movies directed by the likes of Robert Bresson, Yasujiro Ozu, Jean-Luc Godard, and Ingmar Bergman, among others.\u003c\/p\u003e","brand":"Gardners","offers":[{"title":"Default Title","offer_id":52915844546839,"sku":null,"price":9947.04,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0679\/6918\/8119\/files\/9783319398952.jpg?v=1781585810"},{"product_id":"global-masculinities-9783319599458","title":"Global Masculinities","description":"\u003cp\u003eThis book examines the phenomenon of 'the male gaze', a concept which has spread beyond academia and become a staple of cultural conversations across disciplinary boundaries.Male gazing has typically been disparaged and even stigmatized as a reflection of misogyny and an instrument of objectification, often justifiably so. But as this book argues and illustrates, male gazing can also be understood as an illuminating, intellectually engaging, aesthetically compelling, and even politically progressive practice. This study recounts how the author's own coming-of-an-age as a gazer became the basis for his long career teaching and writing about American fiction and poetry and poetry, canonical and contemporary, as well as about film, painting, TV, and rock-and-roll. It includes closely-reasoned analyses of work by James Baldwin, Rembrandt, Willa Cather, Philip Roth, Henry James, Charles Chesnutt, Bob Dylan, Robert Stone,Tim O'Brien, Edith Wharton, Theodore Dreiser, Frank O'Hara, Italo Calvino, John Schlesinger as well such cultural phenomena as the British Invasion of the 1960s, the Judgment of Paris in Greek mythology, the technology of seeing (kaleidoscopes, microscopes, telescopes) and the concept of 'objectification' itself.\u003c\/p\u003e","brand":"Gardners","offers":[{"title":"Default Title","offer_id":52915907789079,"sku":null,"price":12449.44,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0679\/6918\/8119\/files\/9783319599458.jpg?v=1781586718"},{"product_id":"literature-cultural-and-media-studies-9783319579221","title":"Literature, Cultural and Media Studies","description":"\u003cp\u003eThis book addresses what a superhero body can do by developing several \u0026amp;quote;x-rays\u0026amp;quote; of the superbody's sensoria, anatomic structures, internal systems, cellular organizations, and orthotic, chemical, or technological enhancements. In short, these x-rays offer what we might describe as a metamorpho-physiological approach to the superheroes in feature films, theatrical cartoon shorts, and Netflix television series. This approach examines the ways in which the \u0026amp;quote;substance\u0026amp;quote; of superheroes, which includes their masks, costumes, chevrons, weapons, and auras, extends into the diegetic environment of the film, transgressing it, transforming it, and corporealizing it, making it emblematic of the shape, dimensions, contours, and organismic workings of one or more of our major organs, members, orifices, fluids, or cell clusters. 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It is a sequel to Stanley Cavell's 1981 landmark study of the comedic genre, Pursuits of Happiness, where he examines seven comedies of Hollywood's \u0026amp;quote;Golden Age.\u0026amp;quote; Khan puts forward the idea that comedies, once centred on the conventional \u0026amp;quote;happy ending,\u0026amp;quote; are no longer interested in detailing the steps to any ending we might call happy. Instead, the agenda of most culturally serious comedies today is to \u0026amp;quote;spoof,\u0026amp;quote; to make all that is fair foul. The seven films presented here risk a type of cultural nihilism-spoofing for the sake of spoofing and nothing else, indicative not of film's promise but its failure. By equating the failure of film with the failed national politics of Canada (or the failed politics of nationalism andcommunity more generally), this study shows that comedy has less to do with happiness and more to do with the grotesque. 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In this way, Terrence Malick’s Unseeing Cinema moves beyond film theory to advance a work of original philosophy, bringing together two thinkers not normally associated with one another: Gilles Deleuze and Søren Kierkegaard. It investigates how Malick’s gatherings of time allow one to explore new philosophical questions about immanence and transcendence, ethics and faith, time and infinity, and the foldings of subjectivity that are central to both philosophers. 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Documentaries play an increasingly significant role in informing our cognitive and emotional understanding of today's mass-mediated society, and this collection seeks to illuminate their production, exhibition, and reception. Taking an interdisciplinary approach, the essays draw on the latest research in film studies, the neurosciences, cultural studies, cognitive psychology, social psychology, and the philosophy of mind. 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Her practice- based research has been a quest to ”revision” memories, by creating filmic images that elicit memory and remembering. In so doing she has used a range  of platforms: multi- screen video installation, still- framing the moving image and remixing found footage. Central to this research has been the importance of family storytelling and sharing, the relationship of the visual and memory, the agency of nostalgia and the role of aura, particularly evident in the re-appropriating of  super 8 home movies into a variety of forms. 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The reader is taken on a journey through filmmaking factors that, research suggests, impact box office performance. While box office revenues represent only part of a movie’s earning potential, Gunter highlights how theatrical performances remain central to what the movie business is about. 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Exploring questions of representation, embodiment and temporality in 3-D cinema, the book takes an interdisciplinary approach, offering a compelling analysis to a combination of box office favorites and more obscure films, ranging across genres such as horror, erotica, fantasy, science fiction, and documentaries. 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There have been so many other film and TV adaptations of Sherlock Holmes adventures that I feel it necessary to include a number of others as well, even though the emphasis of the book is still on the Rathbone series.I have included several films from the thirties, i.e. four films starring Arthur Wontner as Holmes (The 1932 film The Missing Rembrandt appears to be a lost film) and also the 1931 Raymond Massey The Speckled Band, along with the 1932 Sherlock Holmes with Clive Brook, and the 1933 film A Study in Scarlet starring Reginald Owen.Following the Rathbone films a number of other actors have played Holmes, most notably Peter Cushing in the 1959 film Hound of the Baskervilles and a 1968 TV series. I have included one film each from the 1954-55 series starring Ronald Howard, one from the 1968 Cushing series and one from the series starring Jeremy Brett. 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Even if we do find long-gone loved ones and old friends waiting with warm greetings, How much reminiscing can one do? One way or another God is going to have to explain His indiscretions or His indecision. I feel quite strongly that we are entitled to an explanation! Unless we enter the afterlife with a slate thats been wiped clean. But if thats the case, how will we know happiness or bliss or anything else for that matter and how are we supposed to make an accounting? I mean judgment seems to be a big part of this afterlife business! Unless, of course, reincarnation is true! Maybe we all come back as a new person or an animal or something. The worse you were in life, the lower form of life you return as. At least until you redeem yourself! But how does an animal or an insect redeem itself? This is getting us nowhere, because I really dont care whether or not an insect can redeem itself or even if its possible for humans! I understand the social context of the concept, but as for God, Im amenable to a variety of philosophical intrusions. Im like Louis in the movie Casablanca when he tells Major Strasser, Personally Ill take whatever comes! Currently the prevailing winds are from Vichy! Some may consider him opportunistic or at least unprincipled. But he did redeem himself at the end of the film by throwing the bottle of Vichy water into the waste can and going with Rick to join a Free-French garrison. His redemption had a lot to do with the fact that he was on our side. The right side! But then, everybody thinks theyre on the right side! If Major Strasser had managed to kill Rick, would Louis claim he was trying to stop Rick from helping Ilsa and Victor Laszlo to escape? It would have been magnificently pragmatic. But we (the audience) would have booed and hissed at his cowardly behavior! 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Offers a detailed analysis of one of Hollywood's greatest musicals, including a comprehensive survey of the film's production, promotion and reception, all measured against the background of 1930s socio-political contexts in the USA Explores the musical genre and questions of (gendered) national identity, romance, subjectivity and the notion of the couple Written in a clear, accessible style, Top Hat probes text and context carefully to appeal to the student and teacher of the musical and of Hollywood film history, as well as the film-loving general reader\u003c\/p\u003e","brand":"Gardners","offers":[{"title":"Default Title","offer_id":53652002636055,"sku":null,"price":2611.26,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0679\/6918\/8119\/files\/9781444351705.jpg?v=1784034197"},{"product_id":"companion-to-werner-herzog-9781444361407","title":"Companion to Werner Herzog","description":"\u003cp\u003eA Companion to Werner Herzog showcases over two dozen original scholarly essays examining nearly five decades of filmmaking by one of the most acclaimed and innovative figures in world cinema. 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Raymond Bellour, Centre National de la Recherche Scientifique This exciting collection breaks through the widely held critical view that Truffaut abandoned the iconoclasm of his early work for an academicism he had consistently railed against in his own film criticism. Indeed, if fever and fire were Truffaut s most consistent motifs, the essays in this collection live up to his lifelong, burning passion for the cinema. Written by world-famous scholars, the essays exhaustively explore the themes and styles of the films, as well as Truffaut s relationships to Andr Bazin, Alfred Hitchcock, and the directors of the New Wave, his ground-breaking and controversial film criticism, and his position in the complex politics of French cultural life from the Popular Front to 1968 and after. Angelo Restivo, Georgia State University Although the New Wave, one of the most influential aesthetic revolutions in the history of cinema, might not have existed without him, Fran ois Truffaut has largely been ignored by film scholars since his death almost thirty years ago. As an innovative theoretician, an influential critic, and a celebrated filmmaker, Truffaut formulated, disseminated, and illustrated the ideals of the New Wave with exceptional energy and distinction. Yet no book in recent years has focused on Truffaut s value, and his overall contribution to cinema deserves to be redefined not only to reinstate him in his proper place but to let us rethink how cinema developed during his lifetime. In this new Companion, thirty-four original essays by leading film scholars offer new readings of individual films and original perspectives on the filmmaker s background, influences, and consequence. 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Benshoff and Sean Griffin provide readers with a comprehensive discussion and overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, sexuality, and ability. The book incorporates several different theoretical perspectives, including film genre, auteurism, cultural studies, Orientalism, the \u0026amp;quote;male gaze,\u0026amp;quote; feminism, and queer theory. The authors examine each selected subject via representative films, figures, and movements. Each chapter also includes an in-depth analysis of a single film to illuminate and inform its discussion of the chosen topic. America on Film fearlessly approaches and tackles several controversial areas of representation in film, including the portrayal of both masculinity and femininity in film and African- and Asian-Americans in film. 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