This book examines the recent trend in global cinema to feature infectious disease. As the global crisis of the COVID-19 pandemic materialised the anxieties and discourses of world risk that had long been portrayed in popular media, the book provides a novel definition of the epidemic film genre and offers a systematic look into the narrative and stylistic conventions that characterise it. Epidemic Cinema traces the evolution of the genre from its early cinematic origins to establish the founding principles of a genre standing at the crossroads between science-fiction and horror. It draws on close textual analysis to show how the pandemic reified one of the central predicaments of epidemic narratives: the constant tension existing between free-floating phenomena and the impulse to control and resist such phenomena, ultimately epitomised by the trope of the border. Showing how infectious diseases offer a rich allegorical frame which cinema uses to articulate timely anxieties of growingly invisible and deterritorialised risks, the author presents the prevalence of contagion in popular culture as a symptom of this growingly viral and virus-ridden context, both in its most literal and metaphorical sense. This insightful study will interest students and scholars of film studies, global cinema, science-fiction, horror, popular culture and genre theory.

Epidemic cinema remains an enduring genre of contemporary film, ranging from medical dramas to post-apocalyptic thrillers. Using a vast filmography, Zaniello not only details the incredible variety of epidemics and their role in popular culture, but also demonstrates how epidemics, as a rule, have been confronted without proper preparation or deployment of resources in different forms of media. Therefore, Epidemic Films to Die For is the first and the only book that extensively analyzes the history and deployment of films and TV series towards a chronicle of epidemic films. In addition to providing an overview of how widespread disease and illness have been historically depicted via film and media, this book skillfully contextualizes the contemporary ongoing moment in which filmmakers and producers grapple with the cultural imaginary surrounding the COVID-19 pandemic.

This book explores societal vulnerabilities highlighted within cinema and develops an interpretive framework for understanding the depiction of societal responses to epidemic disease outbreaks across cinematic history. Drawing on a large database of twentieth- and twenty-first-century films depicting epidemics, the study looks into issues including trust, distrust, and mistrust; different epidemic experiences down the lines of expertise, gender, and wealth; and the difficulties in visualizing the invisible pathogen on screen. The authors argue that epidemics have long been presented in cinema as forming a point of cohesion for the communities portrayed, as individuals and groups “from below” represented as characters in these films find solidarity in battling a common enemy of elite institutions and authority figures. Throughout the book, a central question is also posed: “cohesion for whom?”, which sheds light on the fortunes of those characters that are excluded from these expressions of collective solidarity. This book is a valuable reference for scholars and students of film studies and visual studies as well as academic and general readers interested in topics of films and history, and disease and society. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

Epidemic cinema remains an enduring genre of contemporary film, ranging from medical dramas to post-apocalyptic thrillers. Using a vast filmography, Zaniello not only details the incredible variety of epidemics and their role in popular culture, but also demonstrates how epidemics, as a rule, have been confronted without proper preparation or deployment of resources in different forms of media. Therefore, Epidemic Films to Die For is the first and the only book that extensively analyzes the history and deployment of films and TV series towards a chronicle of epidemic films. In addition to providing an overview of how widespread disease and illness have been historically depicted via film and media, this book skillfully contextualizes the contemporary ongoing moment in which filmmakers and producers grapple with the cultural imaginary surrounding the COVID-19 pandemic.

A timely contribution to the fields of film history, visual cultures, and globalization studies, Cinematic Prophylaxis provides essential historical information about how the representation of biological contagion has affected understandings of the origins and vectors of disease. Kirsten Ostherr tracks visual representations of the contamination of bodies across a range of media, including 1940s public health films; entertainment films such as 1950s alien invasion movies and the 1995 blockbuster Outbreak; television programs in the 1980s, during the early years of the aids epidemic; and the cyber-virus plagued Internet. In so doing, she charts the changes—and the alarming continuities—in popular understandings of the connection between pathologized bodies and the global spread of disease. Ostherr presents the first in-depth analysis of the public health films produced between World War II and the 1960s that popularized the ideals of world health and taught viewers to imagine the presence of invisible contaminants all around them. She considers not only the content of specific films but also their techniques for making invisible contaminants visible. By identifying the central aesthetic strategies in films produced by the World Health Organization, the Centers for Disease Control, and other institutions, she reveals how ideas about racial impurity and sexual degeneracy underlay messages ostensibly about world health. Situating these films in relation to those that preceded and followed them, Ostherr shows how, during the postwar era, ideas about contagion were explicitly connected to the global circulation of bodies. While postwar public health films embraced the ideals of world health, they invoked a distinct and deeply anxious mode of representing the spread of disease across national borders.

The Cinema of the Precariat is the first book to lay out the incredible range of the precariat (the social class suffering from precarity) as well as a detailed report on the cinematic record of their work and lives.It discusses a thorough and definitive selection of more than 250 films and related visual media that take the measure of the precariat worldwide. For example, thousands of Haitians, including children, harvest sugar cane in the Dominican Republic (The Price of Sugar), while illegal Afghan refugees work in Iran (Delbaran). More familiar are the millions of Latino immigrants, legal or not, of all ages, that work in the United States (Food Chains). Each chapter focuses on a sub-class of the precariat or a contested zone of labor or the evolving political manifestation of the struggles of the unorganized and the dispossessed. Among the hundreds of bewildering film choices available nowadays this book offers the reader reliable guidance to the films bringing to life the economic, political, and social dilemmas faced by millions of the world's global workforce and their families.

How can an undergraduate college education prepare learners to cope with the current COVID-19 pandemic? This collection of short essays, written by experts in 25 academic fields of study, addresses this very question. Each chapter brings perspective and insight from that discipline, presenting one useful idea and a recommended course of action. This one-of-a-kind resource is ideal for students, instructors, and administrators, particularly during the 2020-2021-academic year when institutions are challenged to continue their educational missions in the midst of a public health crisis that affects every aspect of college life.

Are people with HIV/AIDS treated fairly in films? Here is a compelling book that provides you with a thorough examination of how HIV/AIDS is characterized and portrayed in film and how this portrayal affects American culture. The AIDS Movie: Representing a Pandemic in Film and Television uncovers the primary ways that films about HIV/AIDS influence American ideology and contribute to society's view of the disease. In The AIDS Movie, professors and scholars in the areas of popular culture, film, sociology, and gay and lesbian studies will discover cross-cultural approaches that can be used to analyze the representation of AIDS in American films made in the first two decades of the pandemic. Giving you insight into the production and circulation of social meanings pertaining to HIV/AIDS, this study explores the social ramifications of such representations for gay men in American society, as well as for the rest of the population. Interesting and informative, The AIDS Movie: Representing a Pandemic in Film and Television examines the ways that AIDS has been represented in American movies over the past two decades, defines and proposes criteria for identifying an “AIDS movie” and explores how these images shape social opinions about AIDS and gay men. The AIDS Movie discusses several character types such as “innocent victims” and “guilty villains” and the process of victim-blaming that occurs in AIDS movies. Defining an “AIDS movie” as a film with at least one character who either has been infected with HIV, has developed AIDS, or is grieving the recent death of a loved one from AIDS, this guide bases standards for these movies on several works, including: Chocolate Babies It's My Party Jeffrey The Living End Grief An Early Frost Men in Love A Place for Annie Philadelphia The Ryan White Story Gia Boys on the Side The AIDS Movie: Representing a Pandemic in Film and Television is compelling and insightful as it cleverly reveals how AIDS is portrayed in cinema and television, and how that portrayal affects American culture.

There are many elements in the concept of visual continuity, and they are all interrelated. In films or film series that are described as sequels, establishing a visual integrity relationship between films comes to the fore. The concept of the sequel appears in two ways. Sometimes, while the ideas are scripted, the story is divided into more than one part. Sometimes the story is planned as a single movie, and after a certain time, it can be realized as a follow-up movie/film for different reasons. In both systems of expression, it is necessary to seek harmony between all elements of visual design. Examinations and Analysis of Sequels and Serials in the Film Industry examines certain contents through the concepts of cinematography and narrative, focusing more on the practical side of cinema and partially on the theoretical side. It examines samples, sequels, serials, and trilogy universes on the axis of cinematography and narration. Covering topics such as film landscape, repeated narrative elements, and storytelling, this premier reference source is an excellent resource for film industry workers, film students and educators, sociologists, librarians, academicians, and researchers.

Discusses how the depiction of diseases in movies has changed over the last century and what these changes reveal about American culture Examines disease movies as a genre that has emerged over the last century and includes pandemic and zombie films Reveals the changes to the genre’s narratives over three broad time periods: the beginning of film through the 1980s, the 1990s through the mid-2000s, and the late 2000s and afterward Investigates the evolution of disease movies through three perspectives: historically notable films, remakes, and franchises Analyses disease movies in the context of the development of American, global capitalism and the fragmentation of the social contract Explains the role of disease movie narratives in the American experience of Covid American movies about infectious diseases have reflected and driven dominant cultural narratives during the past century. These movies – both real pandemics and imagined zombie outbreaks – have become wildly popular since the beginning of the 21st century. They have shifted from featuring a contained outbreak to an imagined containment of a known disease to a globalized, uncontainable pandemic of an unknown origin. Movie narratives have changed from identifying and solving social problems to a despair and acceptance of America’s failure to fulfil its historic social contract. Movies reflect and drive developments in American capitalism that increasingly advocates for individuals and their families, rather than communities and the public good. Disease movies today minimize human differences and envisage a utopian new world order to advance the needs of contemporary American capitalism. These movie narratives shaped reactions to the outbreak of Covid and reinforced individual responsibility as the solution to end the pandemic.