Advertisement
| cultural analysis in film: Film Theory Goes to the Movies Jim Collins, Ava Preacher Collins, Hilary Radner, 2012-10-02 Film Theory Goes to the Movies fills the gap in film theory literature which has failed to analyze high-grossing blockbusters. The contributors in this volume, however, discuss such popular films as The Silence of the Lambs, Dances With Wolves, Terminator II, Pretty Woman, Truth or Dare, Mystery Train, and Jungle Fever. They employ a variety of critical approaches, from industry analysis to reception study, to close readings informed by feminist, deconstructive and postmodernist theory, as well as recent developments in African American and gay and lesbian criticism. An important introduction to contemporary Hollywood, this anthology will be of interest to those involved in the fields of film theory, literary theory, popular culture, and women's studies. |
| cultural analysis in film: The X-Men Films Claudia Bucciferro, 2016-02-09 Originally appearing as a comic book in the 1960s, X-Men has been a cultural touchpoint for decades. Since the release of the first film in 2000, the series has enjoyed an even greater transnational presence. With each successive film, the franchise has secured its place within global popular culture, becoming one of the most profitable and complex superhero series to date. While much of the research that has been published on the X-Men focuses on the comics, the movies constitute their own cultural text and deserve special attention. In The X-Men Films: A Cultural Analysis, Claudia Bucciferro has assembled a collection of essays that draw from work in communication, cultural studies, and media studies. With contributions from a diverse group of scholars, the chapters analyze issues that include gender, sexuality, disability, class, and race. The contributors pose intriguing questions about the franchise, such as: What do “mutants” really represent? What role do women and people of color play in the narratives? Why does it matter that Professor X is disabled? Why is Mystique often shown naked? What facilitated Wolverine’s rise to prominence? And how do topics regarding identity, trauma, and bioethics, figure in the stories? Exploring issues relevant for a multicultural world and connecting thematic elements from the films to political debates and social struggles, the book seeks to make a thoughtful contribution to the scholarship of popular culture. The X-Men Films will appeal to media scholars and students, as well as to anyone interested in the X-Men series. |
| cultural analysis in film: Film Cultures Janet Harbord, 2002-09-20 Film Cultures is thought-provoking and challenging. By opening film theory up to the many simultaneous networks of relation (that is, the cultures) of film, it asks both viewer and student to take film more seriously. - Communication Research Trends Film Cultures weaves together insights from cultural theory and film studies to provide a complex and absorbing theoretical account of contemporary film culture. Harbord writes with authority, imagination and wit and her delicate deployment of modernist and postmodernist cultural accounts makes rewarding reading. - Christine Geraghty, Professor of Film and Television, University of Glasgow Film Cultures argues that our tastes for film connect us to social, spatial and temporal networks of exchange and meaning. Whether we view film in the multiplex, arthouse or the gallery, as cinema premiere, video hire or from a cable channel, whether we approach film as a singular object or a hypertext linked to ancillary products, our relationship to film is inhabiting a culture. Shifting the focus of film analysis from the text to paths of circulation, Film Cultures questions how film connects us to social status, and national and global affiliations. |
| cultural analysis in film: A Dictionary of Film Studies Annette Kuhn, Guy Westwell, 2012-06-21 Written by experts in the field, this dictionary covers all aspects of film studies, including terms, concepts, debates, and movements in film theory and criticism, national, international and transnational cinemas, film history, film movements and genres, film industry organizations and practices, and key technical terms and concepts in 500 detailed entries. Most entries also feature recommendations for further reading and a large number also have web links. The web links are listed and regularly updated on a companion website that complements the printed book. The dictionary is international in its approach, covering national cinemas, genres, and film movements from around the world such as the Nouvelle Vague, Latin American cinema, the Latsploitation film, Bollywood, Yiddish cinema, the spaghetti western, and World cinema. The most up-to-date dictionary of its kind available, this is a must-have for all students of film studies and ancillary subjects, as well as an informative read for cinephiles and for anyone with an interest in films and film criticism. |
| cultural analysis in film: Film Theory Philip Simpson, Andrew Utterson, Karen J. Shepherdson, 2004 This major new collection identifies the critical and theoretical concepts which have been most significant in the study of film and presents a historical and intellectual context for the material examined. |
| cultural analysis in film: Keyframes: Popular Cinema and Cultural Studies Matthew Tinkcom, Amy Villarejo, 2003-08-29 Keyframes introduces the study of popular cinema of Hollywood and beyond and responds to the transformative effect of cultural studies on film studies. The contributors rethink contemporary film culture using ideas and concerns from feminism, queer theory, 'race' studies, critiques of nationalism, colonialism and post-colonialism, the cultural economies of fandom, spectator theory, and Marxism. Combining a film studies focus on the film industry, production and technology with a cultural studies analysis of consumption and audiences, Keframes demonstrates the breadth of approaches now available for understanding popular cinema. Subjects addressed include: * Studying Ripley and the 'Alien' films * Pedagogy and Political Correctness in Martial Arts cinema * Judy Garland fandom on the net * Stardom and serial fantasies: Thomas Harris's 'Hannibal' * Tom Hanks and the globalization of stars * Queer Bollywood * Jackie Chan and the Black connection * '12 Monkeys', postmodernism and urban space. |
| cultural analysis in film: Film Theory Philip Simpson, Andrew Utterson, Karen J. Shepherdson, 2004 |
| cultural analysis in film: Cultural Afterlives and Screen Adaptations of Classic Literature H. Shachar, 2012-07-17 Film and television adaptations of classic literature have held a longstanding appeal for audiences, an appeal that this book sets out to examine. With a particular focus on Wuthering Heights , the book examines adaptations made from the 1930s to the twenty-first century, providing an understanding of how they help shape our cultural landscape. |
| cultural analysis in film: Cinema and the Cultural Cold War Sangjoon Lee, 2020-12-15 Cinema and the Cultural Cold War explores the ways in which postwar Asian cinema was shaped by transnational collaborations and competitions between newly independent and colonial states at the height of Cold War politics. Sangjoon Lee adopts a simultaneously global and regional approach when analyzing the region's film cultures and industries. New economic conditions in the Asian region and shared postwar experiences among the early cinema entrepreneurs were influenced by Cold War politics, US cultural diplomacy, and intensified cultural flows during the 1950s and 1960s. By taking a closer look at the cultural realities of this tumultuous period, Lee comprehensively reconstructs Asian film history in light of the international relationships forged, broken, and re-established as the influence of the non-aligned movement grew across the Cold War. Lee elucidates how motion picture executives, creative personnel, policy makers, and intellectuals in East and Southeast Asia aspired to industrialize their Hollywood-inspired system in order to expand the market and raise the competitiveness of their cultural products. They did this by forming the Federation of Motion Picture Producers in Asia, co-hosting the Asian Film Festival, and co-producing films. Cinema and the Cultural Cold War demonstrates that the emergence of the first intensive postwar film producers' network in Asia was, in large part, the offspring of Cold War cultural politics and the product of American hegemony. Film festivals that took place in cities as diverse as Tokyo, Singapore, Hong Kong, and Kuala Lumpur were annual showcases of cinematic talent as well as opportunities for the Central Intelligence Agency to establish and maintain cultural, political, and institutional linkages between the United States and Asia during the Cold War. Cinema and the Cultural Cold War reanimates this almost-forgotten history of cinema and the film industry in Asia. |
| cultural analysis in film: Cultural Studies Approaches in the Study of Eastern European Cinema Andrea Virginás, 2017-01-06 The “spatial”, the “bodily”, and the “memory turn” in the humanities and cultural studies are well-canonized developments. These features of our being in the world are fundamental in the medium of cinema, which is an art of spaces, bodies, and memories, increasingly so today when the analogue platform has been running parallel with the digitalized method of filmmaking. The three nodal concepts define the tripartite structure of this volume, composed of an overview study and twelve case-studies of post-1989 Eastern European film and cinema. The overarching questions of space representation and construction, bodies on screen, issues of national identification in a postcolonial framework, and cinema as a form of cultural memory are explored through the lens of specific national cinemas or contemporary Croatian, Hungarian, Polish, Serbian, Slovakian, Slovenian, and Romanian films. In addition to investigating the cohesive forces that mark the postcommunist Eastern European region as a coherent cultural entity in its cinematic representations, the volume also stands as a witness to the importance of transnational approaches. |
| cultural analysis in film: Malaysian Cinema, Asian Film William Van der Heide, 2002 Annotation Elizabeth A. Kaye specializes in communications as part of her coaching and consulting practice. She has edited Requirements for Certification since the 2000-01 edition. |
| cultural analysis in film: The Film Photonovel Jan Baetens, 2019-04-15 Discarded by archivists and disregarded by scholars despite its cultural impact on post–World War II Europe, the film photonovel represents a unique crossroads. This hybrid medium presented popular films in a magazine format that joined film stills or set pictures with captions and dialogue balloons to re-create a cinematic story, producing a tremendously popular blend of cinema and text that supported more than two dozen weekly or monthly publications. Illuminating a long-overlooked ‘lowbrow’ medium with a significant social impact, The Film Photonovel studies the history of the format as a hybrid of film novelizations, drawn novels, and nonfilm photonovels. While the field of adaptation studies has tended to focus on literary adaptations, this book explores how the juxtaposition of words and pictures functioned in this format and how page layout and photo cropping could affect reading. Finally, the book follows the film photonovel's brief history in Latin America and the United States. Adding an important dimension to the interactions between filmmakers and their audiences, this work fills a gap in the study of transnational movie culture. |
| cultural analysis in film: Cultural Diversity in the French Film Industry Sarah Walkley, 2018-09-22 This is the first book to examine whether France’s ongoing defence of the cultural exception as a means to maintain cultural policies and defend cultural diversity is justifiable in the digital age. It questions whether the arrival of new players such as Apple and Netflix makes defence impossible, and whether an explosion in the number of films available makes policies for cultural promotion increasingly unnecessary. The book takes a critical look at French film policy to establish whether it promotes cultural diversity across cinema and video on demand and the implications for ongoing defence of the cultural exception. Sarah Walkley ultimately makes the case for a more disciplined approach to discussion of the cultural exception and cultural diversity in France supporting ideological arguments about competition, freedom of expression, consumer choice and national identity with concrete evidence of the success of French policies in countering US film market dominance. |
| cultural analysis in film: Hollywood As Historian Peter C. Rollins, 2021-03-17 “A commendably comprehensive analysis of the issue of Hollywood’s ability to shape our minds . . . invigorating reading.” ?Booklist Film has exerted a pervasive influence on the American mind, and in eras of economic instability and international conflict, the industry has not hesitated to use motion pictures for propaganda purposes. During less troubled times, citizens’ ability to deal with political and social issues may be enhanced or thwarted by images absorbed in theaters. Tracking the interaction of Americans with important movie productions, this book considers such topics as racial and sexual stereotyping; censorship of films; comedy as a tool for social criticism; the influence of “great men” and their screen images; and the use of film to interpret history. Hollywood As Historian benefits from a variety of approaches. Literary and historical influences are carefully related to The Birth of a Nation and Apocalypse Now, two highly tendentious epics of war and cultural change. How political beliefs of filmmakers affected cinematic styles is illuminated in a short survey of documentary films made during the Great Depression. Historical distance has helped analysts decode messages unintended by filmmakers in the study of The Snake Pit and Dr. Strangelove. Hollywood As Historian offers a versatile, thought-provoking text for students of popular culture, American studies, film history, or film as history. Films considered include: The Birth of a Nation (1915), The Plow that Broke the Plains (1936), The River (1937), March of Time (1935-1953), City Lights (1931), Modern Times (1936), The Great Dictator (1940), The Grapes of Wrath (1940), Native Land (1942), Wilson (1944), The Negro Soldier (1944), The Snake Pit (1948), On the Waterfront (1954), Dr. Strangelove (1964), Who’s Afraid of Virginia Woolf? (1966), and Apocalypse Now (1979). “Recommended reading for anyone concerned with the influence of popular culture on the public perception of history.” ?American Journalism |
| cultural analysis in film: Comedy and Cultural Critique in American Film Ryan Bishop, 2014-11-28 This book uses large scale social and cultural trends and major world events to analyse the American comedy film. |
| cultural analysis in film: Cultural Specificity in Indonesian Film David Hanan, 2018-07-15 This book explores ways in which diverse regional cultures in Indonesia and their histories have been expressed in film since the early 1950s. It also explores underlying cultural dominants within the new nation, established at the end of 1949 with the achievement of independence from Dutch colonialism. It sees these dominants—for example forms of group body language and forms of consultation—not simply as a product of the nation, but as related to unique and long standing formations and traditions in the numerous societies in the Indonesian archipelago, on which the nation is based. Nevertheless, the book is not concerned only with past traditions, but explores ways in which Indonesian filmmakers have addressed, critically, distinctive aspects of their traditional societies in their feature films (including at times the social position of women), linking past to the present, where relevant, in dynamic ways. |
| cultural analysis in film: American Dreamtime Lee Drummond, 1996 Americans consider themselves practical, realistic people engaged in building a complex technological civilization. At the same time, however, we spend countless billions on activities that fly in the face of our supposed commitment to down-to-earth realism: our movies, television programs, and sports events seem to be the pastimes of a whimsical, fantasy-ridden people. American Dreamtime explores these conflicting images through an analysis of blockbuster movies, revealing the intimate ties our daily activity and thought have with a world of myth. |
| cultural analysis in film: Film, Form, and Culture Robert Phillip Kolker, 2001-07 |
| cultural analysis in film: The Skin of the Film Laura U. Marks, Dana Polan, 2000-01-19 Memories that evoke the physical awareness of touch, smell, and bodily presence can be vital links to home for people living in diaspora from their culture of origin. How can filmmakers working between cultures use cinema, a visual medium, to transmit that physical sense of place and culture? In The Skin of the Film Laura U. Marks offers an answer, building on the theories of Gilles Deleuze and others to explain how and why intercultural cinema represents embodied experience in a postcolonial, transnational world. Much of intercultural cinema, Marks argues, has its origin in silence, in the gaps left by recorded history. Filmmakers seeking to represent their native cultures have had to develop new forms of cinematic expression. Marks offers a theory of “haptic visuality”—a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste—to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory. Using close to two hundred examples of intercultural film and video, she shows how the image allows viewers to experience cinema as a physical and multisensory embodiment of culture, not just as a visual representation of experience. Finally, this book offers a guide to many hard-to-find works of independent film and video made by Third World diasporic filmmakers now living in the United States, Great Britain, and Canada. The Skin of the Film draws on phenomenology, postcolonial and feminist theory, anthropology, and cognitive science. It will be essential reading for those interested in film theory, experimental cinema, the experience of diaspora, and the role of the sensuous in culture. |
| cultural analysis in film: Philippine Cinema and the Cultural Economy of Distribution Michael Kho Lim, 2018-12-18 This book explores the complex interplay of culture and economics in the context of Philippine cinema. It delves into the tension, interaction, and shifting movements between mainstream and independent filmmaking, examines the film distribution and exhibition systems, and investigates how existing business practices affect the sustainability of the independent sector. This book addresses the lack or absence of Asian representation in film distribution literature by supplying the much-needed Asian context and case study. It also advances the discourse of film distribution economy by expounding on the formal and semi-formal film distribution practices in a developing Asian country like the Philippines, where the thriving piracy culture is considered as ‘normal,’ and which is commonly depicted and discussed in existing literature. As such, this will be the first book that looks into the specifics of the Philippine film distribution and exhibition system and provides a historical grounding of its practices. |
| cultural analysis in film: Film as Cultural Artifact Mathew P. John, 2017-06-15 Film is popularly described as a mirror of culture. It plays a pivotal role in facilitating intercultural dialogue in our global village. World cinema helps us understand and appreciate each other’s cultural identity, and promotes harmony across different cultures in our pluralistic society. It introduces us to the life of “the other” in an entertaining yet engaging fashion, creating cultural bridges that foster a sense of unity in the midst of our diversity. This book argues that “cultural anthropology” and “theology” offer two distinct, yet intrinsically connected theoretical frameworks to formulate a more “holistic” reading of religion from world cinema. It proposes an integrated methodology for religious criticism of film in which we look at religion as a subsystem of culture and observe how religious experiences depicted on the screen are mediated through the personal bias of the auteur and the context in which the film is produced. It thus creates a renewed appreciation for the religious diversity in our world by providing a new way of observing and interpreting ethnographic information from world cinema. |
| cultural analysis in film: New Uses of Bourdieu in Film and Media Studies Guy Austin, 2016-07-01 Through his influential work on cultural capital and social mobility, the French sociologist Pierre Bourdieu has provided critical insights into the complex interactions of power, class, and culture in the modern era. Ubiquitous though Bourdieu’s theories are, however, they have only intermittently been used to study some of the most important forms of cultural production today: cinema and new media. With topics ranging from film festivals and photography to constantly evolving mobile technologies, this collection demonstrates the enormous relevance that Bourdieu’s key concepts hold for the field of media studies, deploying them as powerful tools of analysis and forging new avenues of inquiry in the process. |
| cultural analysis in film: Green Cultural Studies Jhan Hochman, 1998 Green Cultural Studies - a work of textual analysis and polemical theory - will upset and delight a variety of readers. Film critics will be challenged by Hochman's illuminating readings of film. Marxists will find splendid capitalist critiques. Comparatists, myth critics, ecocritics, and intellectuals will find engaging observations, as will literary critics, deconstructionists, philosophers of technology and science, cultural critics, and environmental activists. Green Cultural Studies is a valuable reference book to anyone teaching, writing, or thinking about the intricate issues of nature and culture. |
| cultural analysis in film: The SAGE Handbook of Cultural Analysis Tony Bennett, John Frow, 2008-03-26 A genuine one-stop reference point for the many, many differing strands of cultural analysis. This isn′t just one contender among many for the title of ′best multidisciplinary overview′; this is a true heavyweight. - Matt Hills, Cardiff University An achievement and a delight - both compelling and useful. - Beverley Skeggs, Goldsmiths, University of London With the ′cultural turn′, the concept of culture has assumed enormous importance in our understanding of the interrelations between social, political and economic structures, patterns of everyday interaction, and systems of meaning-making. In The SAGE Handbook of Cultural Analysis, the leading figures in their fields explore the implications of this paradigm shift. Part I looks at the major disciplines of knowledge in the humanities and social sciences, asking how they have been reshaped by the cultural turn and how they have elaborated distinctive new objects of knowledge. Parts II and III examine the questions arising from a practice of analysis in which the researcher is drawn reflexively into the object of study and in which methodological frameworks are rarely given in advance. Addressed to academics and advanced students in all fields of the social sciences and humanities, The SAGE Handbook of Cultural Analysis is at once a synthesis of advances in the field, with a comprehensive coverage of the scholarly literature, and a collection of original and provocative essays by some of the brightest intellectuals of our time. |
| cultural analysis in film: Positioning Art Cinema Geoff King, 2019-01-24 Art cinema occupies a space in the film landscape that is accorded a particular kind of value. From films that claim the status of harsh realism to others which embody aspects of the tradition of modernism or the poetic, art cinema encompasses a variety of work from across the globe. But how is art cinema positioned in the film marketplace, or by critics and in academic analysis? Exactly what kinds of cultural value are attributed to films of this type and how can this be explained? This book offers a unique analysis of how such processes work, including the broader cultural basis of the appeal of art cinema to particular audiences. Geoff King argues that there is no single definition of art cinema, but a number of distinct and recurrent tendencies are identified. At one end of the spectrum are films accorded the most 'heavyweight' status, offering the greatest challenges to viewers. Others mix aspects of art cinema with more accessible dimensions such as uses of popular genre frameworks and 'exploitation' elements involving explicit sex and violence. Including case studies of key figures such as Michael Haneke, Pedro Almodóvar and Jean-Pierre and Luc Dardenne, this is a crucial contribution to understanding both art cinema itself and the discourses through which its value is established. |
| cultural analysis in film: American Cinema and Cultural Diplomacy Thomas J. Cobb, 2020-07-25 This book contends that Hollywood films help illuminate the incongruities of various periods in American diplomacy. From the war film Bataan to the Revisionist Western The Wild Bunch, cinema has long reflected US foreign policy’s divisiveness both directly and allegorically. Beginning with the 1990s presidential drama The American President and concluding with Joker’s allegorical treatment of the Trump era, this book posits that the paradigms for political reflection are shifting in American film, from explicit subtexts surrounding US statecraft to covert representations of diplomatic disarray. It further argues that the International Relations theorist Walter Mead’s concept of a US polity dominated by contesting beliefs, or a ‘kaleidoscope’, permeates these changing paradigms. This synergy reveals a cultural milieu where foreign policy fissures are increasingly encoded by cinematic representation. The interdisciplinarity of this focus renders this book pertinent reading for scholars and students of American Studies, Film Studies and International Relations, along with those generally interested in Hollywood filmmakers and foreign policy. |
| cultural analysis in film: Memory and Popular Film Paul Grainge, 2003-09-06 Taking Hollywood as its focus, this timely book provides a sustained, interdisciplinary perspective on memory and film from early cinema to the present. Considering the relationship between official and popular memory, the politics of memory, and the technological and representational shifts that have come to effect memory's contemporary mediation, the book contributes to the growing debate on the status and function of the past in cultural life and discourse. By gathering key critics from film studies, American studies and cultural studies, Memory and Popular Film establishes a framework for discussing issues of memory in film and of film as memory. Together with essays on the remembered past in early film marketing, within popular reminiscence, and at film festivals, the book considers memory films such as Forrest Gump, Lone Star, Pleasantville, Rosewood and Jackie Brown. |
| cultural analysis in film: Trauma and Cinema E. Ann Kaplan, Ban Wang, 2004-02-01 This volume addresses the relation of trauma to transnational modern mass media. The first of its kind, Trauma and Cinema: Cross-Cultural Explorations provides ten essays which explore the ways trauma works itself out as media — in images in (and as) film, photography, and video — in global cultural flows. The focus of our volume on the matrix of trauma, visual media and modernity seeks to engage and go beyond current tendencies in trauma studies. The book discusses how trauma presented in the media spills over national boundaries and can be found in images across divergent cultures in Africa, Asia, Australia, Europe and America. From the Holocaust to the Chinese Cultural Revolution, from Taiwan’s colonial experience to the catastrophe of Hiroshima, from attempted annihilation of Australian Aborigines to attempted reconciliation in South Africa, these essays offer the reader a plethora of images of trauma for comparison and contrast. |
| cultural analysis in film: Film Cultures Janet Harbord, 2002-09-20 Film Cultures is thought-provoking and challenging. By opening film theory up to the many simultaneous networks of relation (that is, the cultures) of film, it asks both viewer and student to take film more seriously. - Communication Research Trends Film Cultures weaves together insights from cultural theory and film studies to provide a complex and absorbing theoretical account of contemporary film culture. Harbord writes with authority, imagination and wit and her delicate deployment of modernist and postmodernist cultural accounts makes rewarding reading. - Christine Geraghty, Professor of Film and Television, University of Glasgow Film Cultures argues that our tastes for film connect us to social, spatial and temporal networks of exchange and meaning. Whether we view film in the multiplex, arthouse or the gallery, as cinema premiere, video hire or from a cable channel, whether we approach film as a singular object or a hypertext linked to ancillary products, our relationship to film is inhabiting a culture. Shifting the focus of film analysis from the text to paths of circulation, Film Cultures questions how film connects us to social status, and national and global affiliations. |
| cultural analysis in film: Transnational Cinema and Ideology Milja Radovic, 2014-06-13 Increasingly, as the production, distribution and audience of films cross national boundaries, film scholars have begun to think in terms of ‘transnational’ rather than national cinema. This book is positioned within the emerging field of transnational cinema, and offers a groundbreaking study of the relationship between transnational cinema and ideology. The book focuses in particular on the complex ways in which religion, identity and cultural myths interact in specific cinematic representations of ideology. Author Milja Radovic approaches the selected films as national, regional products, and then moves on to comparative analysis and discussion of their transnational aspects. This book also addresses the question of whether transnationalism reinforces the nation or not; one of the possible answers to this question may be given through the exploration of the cinema of national states and its transnational aspects. Radovic illustrates the ways in which these issues, represented and framed by films, are transmitted beyond their nation-state borders and local ideologies in which they originated – and questions whether therefore one can have an understanding of transnational cinema as a platform for political dialogue. |
| cultural analysis in film: Criminology Goes to the Movies Nicole Hahn Rafter, Michelle Brown, 2011 From a look at classics like Psycho and Double Indemnity to recent films like Traffic and Thelma & Louise, Nicole Rafter and Michelle Brown show that criminological theory is produced not only in the academy, through scholarly research, but also in popular culture, through film. Criminology Goes to the Movies connects with ways in which students are already thinking criminologically through engagements with popular culture, encouraging them to use the everyday world as a vehicle for theorizing and understanding both crime and perceptions of criminality. The first work to bring a systematic and sophisticated criminological perspective to bear on crime films, Rafter and Brown's book provides a fresh way of looking at cinema, using the concepts and analytical tools of criminology to uncover previously unnoticed meanings in film, ultimately making the study of criminological theory more engaging and effective for students while simultaneously demonstrating how theories of crime circulate in our mass-mediated worlds. The result is an illuminating new way of seeing movies and a delightful way of learning about criminology. |
| cultural analysis in film: Kurosawa Mitsuhiro Yoshimoto, 2000 This work will become not only the newly definitive study of Kurosawa, but will redefine the field of Japanese cinema studies, particularly as the field exists in the west. |
| cultural analysis in film: Keyframes: Popular Cinema and Cultural Studies Matthew Tinkcom, Amy Villarejo, 2003-08-29 Keyframes introduces the study of popular cinema of Hollywood and beyond and responds to the transformative effect of cultural studies on film studies. The contributors rethink contemporary film culture using ideas and concerns from feminism, queer theory, 'race' studies, critiques of nationalism, colonialism and post-colonialism, the cultural economies of fandom, spectator theory, and Marxism. Combining a film studies focus on the film industry, production and technology with a cultural studies analysis of consumption and audiences, Keframes demonstrates the breadth of approaches now available for understanding popular cinema. Subjects addressed include: * Studying Ripley and the 'Alien' films * Pedagogy and Political Correctness in Martial Arts cinema * Judy Garland fandom on the net * Stardom and serial fantasies: Thomas Harris's 'Hannibal' * Tom Hanks and the globalization of stars * Queer Bollywood * Jackie Chan and the Black connection * '12 Monkeys', postmodernism and urban space. |
| cultural analysis in film: Interpreting Films Janet Staiger, 2020-07-21 Employing a wide range of examples from Uncle Tom's Cabin and Birth of a Nation to Zelig and Personal Best, Janet Staiger argues that a historical examination of spectators' responses to films can make a valuable contribution to the history, criticism, and philosophy of cultural products. She maintains that as artifacts, films do not contain immanent meanings, that differences among interpretations have historical bases, and that these variations are due to social, political, and economic conditions as well as the viewers' constructed images of themselves. After proposing a theory of reception study, the author demonstrates its application mainly through analyzing the varying responses of audiences to certain films at specific moments in history. Staiger gives special attention to how questions of class, gender, sexual preference, race, and ethnicity enter into film viewers' interpretations. Her analysis reflects recent developments in post-structuralism, cognitive psychology, psychoanalysis, and cultural studies, and includes a discussion of current reader-response models in literary and film studies as well as an alternative approach for thinking about historical readers and spectators. |
| cultural analysis in film: New Cultural Studies Clare Birchall, Gary Hall, 2006-01-01 New Cultural Studies is both an introductory reference work and an original study which explores new directions and territories for cultural studies. A new generation has begun to emerge from the shadow of the Birmingham School. It is a generation whose whole education has been shaped by theory, and who frequently turn to it as a means to think through some of the issues and current problems in contemporary culture and cultural studies. In a period when departments which were once hotbeds of high theory are returning to more sociological and social science oriented modes of research, and 9/11 and the war in Iraq especially have helped create a sense of post-theoretical political urgency which leaves little time for the elitist, Eurocentric, textual concerns of Theory, theoretical approaches to the study of culture have, for many of this generation, never seemed so important or so vital. New Cultural Studies explores theory's past, present, and most especially future role in cultural studies. It does so by providing an authoritative and accessible guide, for students and teachers alike, to: the most innovative members of this new generation the thinkers and theories currently influencing new work in cultural studies: Agamben, Badiou, Deleuze, Derrida, Hardt and Negri, Kittler, Laclau, Levinas, and iek the new territories currently being mapped out across the intersections of cultural studies and cultural theory: anti-capitalism, ethics, the posthumanities, post-Marxism, and the transnational |
| cultural analysis in film: Cinema and Urban Culture in Shanghai, 1922-1943 Yingjin Zhang, 1999 This volume establishes cinema as a vital force in Shanghai culture, focusing on early Chinese cinema. It surveys the history and historiography of Chinese cinema and examines the development of the various aspects affecting the film culture. |
| cultural analysis in film: Film as Social Practice Graeme Turner, 2006 Publisher description |
| cultural analysis in film: Film, Form, and Culture Robert Kolker, 2015-08-14 Film, Form, and Culture (4th edition) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores film from part to whole; from the smallest unit of the shot to the way shots are edited together to create narrative. It then examines those narratives (both fiction and non-fiction) as stories and genres that speak to the culture of their time and our perceptions of them today. Composition, editing, genres (such as the gangster film, the Western, science fiction, and melodrama) are analyzed alongside numerous images to illustrate the discussion. Chapters on the individuals who make films - the production designer, cinematographer, editor, composer, producer, director, and actor - illustrate the collaborative nature of filmmaking. This new edition includes: An expanded discussion of the digital 'revolution in filmmaking: exploring the movement from celluloid to digital recording and editing of images, as well as the use of CGI A new chapter on international cinema that covers filmmaking from Italy to Mumbai offering students a broader understanding of cinema on a worldwide scale A new chapter on film acting that uses images to create a small catalogue of gestures and expressions that are recognizable in film after film Expanded content coverage and in-depth analysis throughout, including a visual analysis of a scene from Christopher Nolan’s The Dark Knight An expanded chapter on the cultural contexts of film summarizes the theories of cultural and media studies, concluding with a comparative analysis of Alfred Hitchcock’s Vertigo and Judd Apatow’s This is 40 Over 260 images, many in color, that create a visual index to and illustration of the discussion of films and filmmaking Each chapter ends with updated suggestions for further reading and viewing, and there is an expanded glossary of terms. Additional resources for students and teachers can also be found on the companion website (www.routledge.com/cw/kolker), which includes additional case studies, discussion questions and links to useful websites. This textbook is an invaluable and exciting resource for students beginning film studies at undergraduate level. |
| cultural analysis in film: Culture Meets Culture in the Movies David H. Budd, 2010-07-27 This is an examination of the interactions between people of different cultures as portrayed in relatively modern, commonly available American and European films. The cinema is a desirable medium through which to show cultural differences because it vividly portrays settings, actions and emotions, all of which greatly influence viewers' perceptions. Films showing relations of the United States, north and south; Japan, China, India, Asia, and Africa meeting the West; the clash between American Indians and white settlers; various other intercultural contrasts, multicultural voices in film, and the connection between popular film and intercultural studies--all are examined in this work. Each chapter concludes with a filmography. |
| cultural analysis in film: Constructions of Cultural Identities in Newsreel Cinema and Television after 1945 Kornelia Imesch, Sigrid Schade, Samuel Sieber, 2016-12-31 Newsreel cinema and television not only served as an important tool in the shaping of political spheres and the construction of national and cultural identities up to the 1960s. Today's potent televisual forms were furthermore developed in and strongly influenced by newsreels, and much of the archived newsreel footage is repeatedly used to both illustrate and re-stage past events and their significance. This book addresses newsreel cinema and television as a medium serving the formation of cultural identities in a variety of national contexts after 1945, its role in forming audiovisual narratives of a »biopic of the nation«, and the technical, aesthetical, and political challenges of archiving and restaging cinematic and televisual newsreel. |
CULTURAL Definition & Meaning - Merriam-Webster
The meaning of CULTURAL is of or relating to culture or culturing. How to use cultural in a sentence.
CULTURAL | English meaning - Cambridge Dictionary
CULTURAL definition: 1. relating to the habits, traditions, and beliefs of a society: 2. relating to music, art…. Learn more.
Culture - Wikipedia
Culture is considered a central concept in anthropology, encompassing the range of phenomena that are transmitted through social learning in human societies. Cultural universals are found in …
CULTURAL Definition & Meaning | Dictionary.com
Cultural definition: of or relating to culture or cultivation.. See examples of CULTURAL used in a sentence.
Cultural - definition of cultural by The Free Dictionary
(Art Terms) of or relating to artistic or social pursuits or events considered to be valuable or enlightened. 2. (Sociology) of or relating to a culture or civilization. 3. (Horticulture) (of certain …
cultural adjective - Definition, pictures, pronunciation and usage ...
Definition of cultural adjective in Oxford Advanced Learner's Dictionary. Meaning, pronunciation, picture, example sentences, grammar, usage notes, synonyms and more.
What does Cultural mean? - Definitions.net
Cultural refers to the customs, beliefs, values, norms, traditions, social behaviors, arts, and achievements shared by a particular group of people, shaping their way of life and contributing …
Culture | Definition, Characteristics, Examples, Types, Tradition ...
culture, behaviour peculiar to Homo sapiens, together with material objects used as an integral part of this behaviour. Thus, culture includes language, ideas, beliefs, customs, codes, …
CULTURAL - Meaning & Translations | Collins English Dictionary
Cultural means relating to the arts generally, or to the arts and customs of a particular society. Master the word "CULTURAL" in English: definitions, translations, synonyms, pronunciations, …
What Is Culture? - New Cultural Frontiers
Mar 30, 2025 · Culture is a group of practices, beliefs, values and ideas that form the identity of an individual or community. It is reflected in many aspects of life including language, religion, …
CULTURAL Definition & Meaning - Merriam-Webster
The meaning of CULTURAL is of or relating to culture or culturing. How to use cultural in a sentence.
CULTURAL | English meaning - Cambridge Dictionary
CULTURAL definition: 1. relating to the habits, traditions, and beliefs of a society: 2. relating to music, art…. Learn more.
Culture - Wikipedia
Culture is considered a central concept in anthropology, encompassing the range of phenomena that are transmitted through social learning in human societies. Cultural universals are found in …
CULTURAL Definition & Meaning | Dictionary.com
Cultural definition: of or relating to culture or cultivation.. See examples of CULTURAL used in a sentence.
Cultural - definition of cultural by The Free Dictionary
(Art Terms) of or relating to artistic or social pursuits or events considered to be valuable or enlightened. 2. (Sociology) of or relating to a culture or civilization. 3. (Horticulture) (of certain …
cultural adjective - Definition, pictures, pronunciation and usage ...
Definition of cultural adjective in Oxford Advanced Learner's Dictionary. Meaning, pronunciation, picture, example sentences, grammar, usage notes, synonyms and more.
What does Cultural mean? - Definitions.net
Cultural refers to the customs, beliefs, values, norms, traditions, social behaviors, arts, and achievements shared by a particular group of people, shaping their way of life and contributing …
Culture | Definition, Characteristics, Examples, Types, Tradition ...
culture, behaviour peculiar to Homo sapiens, together with material objects used as an integral part of this behaviour. Thus, culture includes language, ideas, beliefs, customs, codes, …
CULTURAL - Meaning & Translations | Collins English Dictionary
Cultural means relating to the arts generally, or to the arts and customs of a particular society. Master the word "CULTURAL" in English: definitions, translations, synonyms, pronunciations, …
What Is Culture? - New Cultural Frontiers
Mar 30, 2025 · Culture is a group of practices, beliefs, values and ideas that form the identity of an individual or community. It is reflected in many aspects of life including language, religion, …
