The first volume of the Directory of World Cinema: Britain provided an overview of British cinema from its earliest days to the present. In this, the second volume, the contributors focus on specific periods and trace the evolutions of individual genres and directors. A complementary edition rather than an update of its predecessor, the book offers essays on war and family films, as well as on LGBT cinema and representations of disability in British films. Contributors consider established British directors such as Ken Loach and Danny Boyle as well as newcomer Ben Wheatley, who directed the fabulously strange A Field in England. This volume also shines the spotlight on the British Film Institute and its role in funding, preservation, and education in relation to British cinema. A must read for any fan of film, the history of the United Kingdom, or international artistic traditions, Directory of World Cinema: Britain 2 will find an appreciative audience both within and outside academia.

Scotland, its people and its history have long been a source of considerable fascination and inspiration for filmmakers, film scholars and film audiences worldwide. A significant number of critically acclaimed films made in the last twenty-five years have ignited passionate conversations and debates about Scottish national cinema. Its historical, industrial and cultural complexities and contradictions have made it all the more a focus of attention and interest for both popular audiences and scholarly critics. Directory of World Cinema: Scotland provides an introduction to many of Scottish cinema’s most important and influential themes and issues, films and filmmakers, while adding to the ongoing discussion concerning how to make sense of Scotland’s cinematic traditions and contributions. Chapters on filmmakers range from Murray Grigor to Ken Loach, and Gaelic filmmaking, radical and engaged cinema, production, finance and documentary are just a few of the topics explored. Film reviews range from popular box office hits such as Braveheart, and Trainspotting to lesser known but equally engaging independent and lower budget productions, such as Shell and Orphans. This book is both a stimulating and accessible resource for a wide range of readers interested in Scottish film.

Hollywood continues to reign supreme; from award-winning dramas to multimillion-dollar, special-effects-laden blockbusters, Tinseltown produces the films that audiences around the world go to the cinema to see. While the film industry has dramatically changed over the years – stars have come and gone, studios have risen and fallen, new technologies have emerged to challenge directors and entice audiences – Hollywood remains the centre of global media entertainment. The second volume of Directory of World Cinema: American Hollywood builds on its predecessor by exploring how the industry has evolved and expanded throughout its history. With new essays that discuss the importance of genre, adaptation, locations and technology in the production of film, this collection explores how Hollywood has looked to create, innovate, borrow and adapt new methods of filmmaking to capture the audience’s imaginations. Touching on classic films such as North by Northwest and Dirty Harry alongside CGI blockbusters like The Lord of the Rings and The Dark Knight as well as comedies such as When Harry Met Sally and Jerry Maguire, this landmark book charts the changing tastes of cinema-goers and the diverse range of offerings from Hollywood. User-friendly and concise, yet dense and wide-ranging, Directory of World Cinema: American Hollywood 2 demonstrates that Hollywood, despite its challenges from independent filmmakers and foreign directors, remains the undisputed king of moviemaking in the twenty-first century.

Working at the intersection of religion and ever-shifting political, economic and social environments, Iranian cinema has produced some of the most critically lauded films in the world today. The first volume in the Directory of World Cinema: Iran turned the spotlight on the award-winning cinema of Iran, with particular attention to the major genres and movements, historical turning points and prominent figures that have helped shape it. Considering a wide range of genres, including Film Farsi, New Wave, war film, art house film and women’s cinema, the book was greeted with enthusiasm by film studies scholars, students working on alternative or national cinema and fans and aficionados of Iranian film. Building on the momentum and influence of its predecessor, Directory of World Cinema: Iran 2 will be welcomed by all seeking an up-to-date and comprehensive guide to Iranian cinema.

The core volume in the Traditions in World Cinema series, this book brings together a colourful and wide-ranging collection of world cinematic traditions - national, regional and global - all of which are in need of introduction, investigation and, in some cases, critical reassessment. Topics include: German expressionism, Italian neorealism, French New Wave, British new wave, Czech new wave, Danish Dogma, post-Communist cinema, Brazilian post-Cinema Novo, new Argentine cinema, pre-revolutionary African traditions, Israeli persecution films, new Iranian cinema, Hindi film songs, Chinese wenyi.

This book is the assembly of various texts that are freely available on the web, especially from Wikipedia. The next obvious question is: why buy this book? The answer: because it means you avoid having to carry out long and tedious internet searches. (12 different topics grouped in one book) The topics are all linked to each other organically, and as a function of the subject and, in most cases, contain additional unpublished topics, not found on the web. Moreover, the inclusion of images completes the work so as to make it unique and unrepeatable. (Over 100 poster and film scenes) In addition, each film is linked to Youtube and in most cases the films are viewed in full Movie.. Contents of the book: 25 films that made Horror Cinema: The Mummy (1932), Il mulino delle donne di pietra (1960), La maschera del demonio (1960), The Innocents (1961), La frusta e il corpo (1963), I lunghi capelli della morte (1965), Night of the Living Dead (1968), The Abominable Dr. Phibes (1971), La corta notte delle bambole di vetro (1971), The Legend of Hell House (1973), Burnt Offerings (1976) and Suspiria (1977). Of each film: Plot, Cast, Production, Development, casting, Filming, Post-Production, Musical Score, Release, Critical Response, Home Media, Legacy, References, Bibliography, Posters and Fim Scenes.

The tradition of British realism has changed dramatically over the last 20 years, where films by directors such as Duane Hopkins, Joanna Hogg, Andrea Arnold, Shane Meadows and Clio Barnard have suggested a markedly poetic turn. This new realism rejects the instrumentalism and didacticism of filmmakers like Ken Loach in favour of lyrical and often ambiguous encounters with place, where the physical processes of lived experience interacts with the rhythms of everyday life. Taking these 5 filmmakers as case studies, this book seeks to explore in depth this new tradition of British cinema - and in the process, it reignites debates over realism that have concerned scholars for decades.

This new edition of 'The Cinema Book' looks at the recent developments in the field of cinema studies whilst retaining the historical coverage and depth of the original.

British Cinema brings together leading international scholars to investigate the rich diversity of Britain's film production, and explore the different cultural traditions which have shaped Britain's national identity onscreen.

This book analyses the representation of North-East England in film and television. It is a response to the way a number of important British films and programmes—for example, Get Carter (1971), Whatever Happened to the Likely Lads (1973-74), Our Friends in the North (1996) and Billy Elliot (2000)—have used this particular setting to explore questions of class, identity and history. It argues for the significance and coherence of a North-East corpus of film and television through a series of case studies relating to specific eras or types of representation. These include regional writers working for television in the 1970s, the achievements of the workshop movement in the 1980s and works produced within the genres of documentary, crime drama, comedy, period drama and reality television. The book discusses how the communities and landscapes of the region have been used to explore processes of cultural change, and legacies of de-industrialisation.