This remarkable collection uses genre as a fresh way to analyze the issues of gender representation in film theory, film production, spectatorship, and the contexts of reception. With a uniquely global perspective, these essays examine the intersection of gender and genre in not only Hollywood films but also in independent, European, Indian, and Hong Kong cinemas. Working in the area of postcolonial cinema, contributors raise issues dealing with indigenous and global cinemas and argue that contemporary genres have shifted considerably as both notions of gender and forms of genre have changed. The volume addresses topics such as the history of feminist approaches to the study of genre in film, issues of female agency in postmodernity, changes taking place in supposedly male-dominated genres, concepts of genre and its use of gender in global cinema, and the relationship between gender and sexuality in film. Contributors are Ira Bhaskar, Steven Cohan, Luke Collins, Pam Cook, Lucy Fischer, Jane Gaines, Christine Gledhill, Derek Kane-Meddock, E. Ann Kaplan, Samiha Matin, Katie Model, E. Deidre Pribram, Vicente Rodriguez Ortega, Adam Segal, Chris Straayer, Yvonne Tasker, Deborah Thomas, and Xiangyang Chen.

Today, the director is considered the leading artistic force behind a film. The production of a Hollywood movie requires the labor of many people, from screenwriters and editors to cinematographers and boom operators, but the director as author of the film overshadows them all. How did this concept of the director become so deeply ingrained in our understanding of cinema? In Hollywood’s Artists, Virginia Wright Wexman offers a groundbreaking history of how movie directors became cinematic auteurs that reveals and pinpoints the influence of the Directors Guild of America (DGA). Guided by Frank Capra’s mantra “one man, one film,” the Guild has portrayed its director-members as the creators responsible for turning Hollywood entertainment into cinematic art. Wexman details how the DGA differentiated itself from other industry unions, focusing on issues of status and creative control as opposed to bread-and-butter concerns like wages and working conditions. She also traces the Guild’s struggle for creative and legal power, exploring subjects from the language of on-screen credits to the House Un-American Activities Committee’s investigations of the movie industry. Wexman emphasizes the gendered nature of images of the great director, demonstrating how the DGA promoted the idea of the director as a masculine hero. Drawing on a broad array of archival sources, interviews, and theoretical and sociological insight, Hollywood’s Artists sheds new light on the ways in which the Directors Guild of America has shaped the role and image of directors both within the Hollywood system and in the culture at large.

Despite the widely publicised prejudice faced by women in Hollywood, since around 1990 a significant minority of female directors have been making commercially and culturally impactful films there across the full range of genres. This book explores movies by filmmakers Amy Heckerling, Nora Ephron, Nancy Meyers, Catherine Hardwicke, Sofia Coppola, Kimberly Peirce, Kathryn Bigelow and Greta Gerwig, including many which are still critically neglected or derided, seeing them as offering a new understanding of genre filmmaking. That is, like many other contemporary films but in a striking proportion within the smaller set of mainstream movies by women, this body of work revels in a heightened genre status that allows its authors to simultaneously address ‘intellectual’ cinephilic pleasures and bodily-emotive ones. Arguing through close analysis that these films demonstrate the inseparability of such strategies of engagement in contemporary genre cinema, Heightened Genre reclaims women’s mainstream filmmaking for feminism through a recalibration of genre theory itself.

Winner of first Prize in the BAFTSS Best Edited Collection competition, this volume examines how different generations of women work within the genericity of audio-visual storytelling not necessarily to ‘undo’ or ‘subvert’ popular formats, but also to draw on their generative force. Recent examples of filmmakers and creative practitioners within and outside Hollywood as well as women working in non-directing authorial roles remind us that women are in various ways authoring commercially and culturally impactful texts across a range of genres. Put simply, this volume asks: what do women who are creatively engaged with audio-visual industries do with genre and what does genre do with them? The contributors to the collection respond to this question from diverse perspectives and with different answers, spanning issues of direction, screenwriting, performance and audience address/reception.

Sports and film are media that create time. They are temporal not only in the sense that they are defined and regulated by certain temporalities as a result of processes of social negotiation, but also in the sense of modulating and intervening in these processes in the first place. They are determined by multiple temporalities referring to and aligning along perceptual corporeality; but at the same time, they also produce time through and along temporalities of bodily expression and perception. Thus, as much as we perceive and understand sports and film by means of our culturally coded conceptions of time, this comprehension is itself already the product of these media’s fabrication and modulation of certain audiovisual imaginations of time. This book examines these imaginations with regard to US team sports feature films, understanding the former as the latter’s constitutive conflict which makes these films graspable as a genre in the first place. By addressing temporality as an ever-new crystallization of a heroic past and an unattainable future in a saturated yet volatile present, this conflict connects substantially to the American Dream as an idea of community-building historicity. Departing from a non-taxonomic approach in genre theory and such philosophical recognition of the American Dream as less an ideological narrative but more a social and socially effective imaginary embedded in an audiovisual discourse of time, this book demonstrates the interrelation of sports, cinema and “American” subjectivization along close readings of the poetics of affect of five exemplary sports films (FIELD OF DREAMS, WE ARE MARSHALL, KNUTE ROCKNE ALL AMERICAN, JIM THORPE – ALL-AMERICAN, MIRACLE).

This volume examines contemporary reformulations of the ‘Final Girl’ in film, TV, literature and comic, expanding the discussion of the trope beyond the slasher subgenre. Focusing specifically on popular texts that emerged in the 21st century, the volume asks: What is the sociocultural context that facilitated the remarkable proliferation of the Final Girls? What kinds of stories are told in these narratives and can they help us make sense of feminism? What are the roles of literature and media in the reconsiderations of Carol J. Clover’s term of thirty years ago and how does this term continue to inform our understanding of popular culture? The contributors to this collection take up these concerns from diverse perspectives and with different answers, notably spanning theories of genre, posthumanism, gender, sexuality and race, as well as audience reception and spectatorship.

In South Asia massive anticolonial movements in the twentieth century created nation-states and reset national borders, forming the basis for emerging film cultures. Following the upheaval of the partition of India and Pakistan in 1947 and the Bangladesh Liberation War of 1971, new national cinemas promoted and reinforced prevailing hierarches of identity and belonging. At the same time, industrial and independent cinemas contributed to remarkably porous and hybrid film cultures, reflecting the intertwining of South Asian histories and their reciprocal cultural influences. This cross-fertilization within South Asian cultural production continues today. South Asian Filmscapes excavates these complex politics and poetics of bordered identity and crossings through selected histories of cinema in South Asia. Several essays reveal ways in which fixed notions of national identity have been destabilized by the cross-border mobility of filmed arts and practitioners, while others interrogate how filmic politics intersects with discourses of nationalism, sexuality and gender, religion, and language. Together, they offer a fluid approach to the multiple histories and encounters that conjure “South Asia” as a geographic and political entity in the region and globally through a cinematic imagination.

This book is the first to explore ‘old age’ in cinema at the intersection of gender, ageing, celebrity and genre studies. It takes its cue from the dual meanings of ‘silvering’ – economics and ageing – and explores shifting formulations of ‘old age’ and gender in contemporary cinema. Broad in its scope, the book establishes the importance of silver audiences to the survival of cinema exhibition while also forging connections between the pleasures of ‘old age’ films, consumer culture, the ‘economy of celebrity’ and the gendered silvering of stardom. The chapters examine gendered genres such as romantic comedies, action and heist movies, the prosthetics of costume, and CGI enabled age transformations. Through this analysis, Josephine Dolan teases out the different meanings of ageing masculinity and femininity offered in contemporary cinema. She identifies ageing femininity as the pathologised target of rejuvenation while masculine ageing is seen to enhance an enduring youthfulness. This book has interdisciplinary appeal and will engage scholars interested in ‘old age’ and gender representations in contemporary cinema.

Winner of the the 2021 Best Edited Collection Award from BAFTSS Winner of the 2021 British Fantasy Award in Best Non-Fiction​ ​Finalist for the 2020 Bram Stoker Award® for Superior Achievement in Non-Fiction Runner-Up for Book of the Year in the 19th Annual Rondo Halton Classic Horror Awards​ “But women were never out there making horror films, that’s why they are not written about – you can’t include what doesn’t exist.” “Women are just not that interested in making horror films.” This is what you get when you are a woman working in horror, whether as a writer, academic, festival programmer, or filmmaker. These assumptions are based on decades of flawed scholarly, critical, and industrial thinking about the genre. Women Make Horror sets right these misconceptions. Women have always made horror. They have always been an audience for the genre, and today, as this book reveals, women academics, critics, and filmmakers alike remain committed to a film genre that offers almost unlimited opportunities for exploring and deconstructing social and cultural constructions of gender, femininity, sexuality, and the body. Women Make Horror explores narrative and experimental cinema; short, anthology, and feature filmmaking; and offers case studies of North American, Latin American, European, East Asian, and Australian filmmakers, films, and festivals. With this book we can transform how we think about women filmmakers and genre.

Go beyond Kurosawa and discover an up-to-date and rigorous examination of historical and modern Japanese cinema In A Companion to Japanese Cinema, distinguished cinematic researcher David Desser delivers insightful new material on a fascinating subject, ranging from the introduction and exploration of under-appreciated directors, like Uchida Tomu and Yoshimura Kozaburo, to an appreciation of the Golden Age of Japanese cinema from the point of view of little-known stars and genres of the 1950s. This Companion includes new resources that deal in-depth with the issue of gender in Japanese cinema, including a sustained analysis of Kawase Naomi, arguably the most important female director in Japanese film history. Readers will appreciate the astute material on the connections and relationships that tie together Japanese television and cinema, with implications for understanding the modern state of Japanese film. The Companion concludes with a discussion of the Japanese media’s response to the 3/11 earthquake and tsunami that devastated the nation. The book also includes: A thorough introduction to the History, Ideology, and Aesthetics of Japanese cinema, including discussions of Kyoto as the cinematic center of Japan and the Pure Film Movement and modern Japanese film style An exploration of the background to the famous story of Taki no Shiraito and the significant and underappreciated contributions of directors Uchida Tomu, as well as Yoshimura Kozaburo A rigorous comparison of old and new Japanese cinema, including treatments of Ainu in documentary films and modernity in film exhibition Practical discussions of intermediality, including treatments of scriptwriting in the 1930s and the influence of film on Japanese television Perfect for upper-level undergraduate and graduate students studying Japanese and Asian cinema, A Companion to Japanese Cinema is a must-read reference for anyone seeking an insightful and contemporary discussion of modern scholarship in Japanese cinema in the 20th and 21st centuries.