Documenting the Documentary offers clear, serious, and insightful analyses of documentary films, and is a welcome balance between theory and criticism, abstract conceptualization and concrete analysis.

The essays in Moving Modernisms: Motion, Technology, and Modernity, written by renowned international scholars, open up the many dimensions and arenas of modernist movement and movements: spatial, geographical and political: affective and physiological; temporal and epochal; technological, locomotive and metropolitan; aesthetic and representational. Individual essays explore modernism's complex geographies, focusing on Anglo-European modernisms while also engaging with the debates engendered by recent models of world literatures and global modernisms. From questions of space and place, the volume moves to a focus on movement and motion, with topics ranging from modernity and bodily energies to issues of scale and quantity. The final chapters in the volume examine modernist film and the moving image, and travel and transport in the modern metropolis. 'Movement is reality itself', the philosopher Henri Bergson wrote: the original and illuminating essays in Moving Modernisms point in new ways to the realities, and the fantasies, of movement in modernist culture.

The transition from silent to synchronized sound film was one of the most dramatic transformations in cinema's history, as it radically changed the technology, practices, and aesthetics of filmmaking within a few short years. In France, debates about sound cinema were fierce and widespread. In French Musical Culture and the Coming of Sound Cinema, author Hannah Lewis argues that the debates about sound film resonated deeply within French musical culture of the early 1930s, and conversely, that discourses surrounding a range of French musical styles and genres shaped audiovisual cinematic experiments during the transition to sound. Lewis' book focuses on many of the most prominent directors and screenwriters of the period, from Luis Buñuel to Jean Vigo, as well as experiments found in lesser-known films. Additionally, Lewis examines how early sound film portrayed the diverse soundscape of early 1930s France, as filmmakers drew from the music hall, popular chanson, modernist composition, opera and operetta, and explored the importance of musical machines to depict and to shape French audiovisual culture. In this light, the author discusses the contributions of well-known composers for film alongside more popular music hall styles, all of which had a voice within the heterogeneous soundtrack of French sound cinema. By delving into this fascinating developmental period of French cinematic history, Lewis encourages readers to challenge commonly-held assumptions about how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.

The Concise Routledge Encyclopedia of the Documentary Film is a fully international reference work on the history of the documentary film from the Lumière brothers' Workers Leaving the Lumière Factory (1885) to Michael Moore's Fahrenheit 911 (2004). Previously published in three volumes, entries have been edited and updated for the new, concise edition and three new entries have been added on: India, China and Africa. The Concise Routledge Encyclopedia of the Documentary Film: Discusses individual films and filmmakers including little-known filmmakers from countries such as India, Bosnia, China and others Examines the documentary filmmaking traditions within nations and regions, or within historical periods in places such as Iran, Brazil, Portugal, and Japan Explores themes, issues, and representations in documentary film including human rights, modernism, homosexuality, and World War I, as well as types of documentary film such as newsreels and educational films Elaborates on production companies, organizations, festivals, and institutions such as the American Film Institute, Ceylon Tea Propaganda Board, Hot Docs (Toronto), and the World Union of Documentary Describes styles, techniques, and technical issues such as animation, computer imaging, editing techniques, IMAX, music, and spoken commentary Bringing together all aspects of documentary film, this accessible concise edition provides an invaluable resource for both scholars and students. With film stills from key films, this resource provides the decisive entry point into the history of an art form.

The Encyclopedia of the Documentary Film is a fully international reference work on the history of the documentary film from the Lumière brothers' Workers Leaving the Lumière Factory (1885) to Michael Moore's Fahrenheit 911 (2004). This Encyclopedia provides a resource that critically analyzes that history in all its aspects. Not only does this Encyclopedia examine individual films and the careers of individual film makers, it also provides overview articles of national and regional documentary film history. It explains concepts and themes in the study of documentary film, the techniques used in making films, and the institutions that support their production, appreciation, and preservation.

The four volumes of Film Study include a fresh approach to each of the basic categories in the original edition. Volume three draws on the history of film.

Kommentierte Bibliografie. Sie gibt Wissenschaftlern, Studierenden und Journalisten zuverlässig Auskunft über rund 6000 internationale Veröffentlichungen zum Thema Film und Medien. Die vorgestellten Rubriken reichen von Nachschlagewerk über Filmgeschichte bis hin zu Fernsehen, Video, Multimedia.

From The Big Sleep to Babette's Feast, from Lawrence of Arabia to Drugstore Cowboy, The Movie Guide offers the inside word on 3,500 of the best motion pictures ever made. James Monaco is the president and founder of BASELINE, the world's leading supplier of information to the film and television industries. Among his previous books are The Encyclopedia of Film, American Film Now, and How to Read a Film.

Cartography and cinema are what might be called locational machinery. Maps and movies tell their viewers where they are situated, what they are doing, and, to a strong degree, who they are. In this groundbreaking work, eminent scholar Tom Conley establishes the ideological power of maps in classic, contemporary, and avant-garde cinema to shape the imaginary and mediated relations we hold with the world. Cartographic Cinema examines the affinities of maps and movies through comparative theory and close analysis of films from the silent era to the French New Wave to Hollywood blockbusters. In doing so, Conley reveals that most of the movies we see contain maps of various kinds and almost invariably constitute a projective apparatus similar to cartography. In addition, he demonstrates that spatial signs in film foster a critical relation with the prevailing narrative and mimetic registers of cinema. Conley convincingly argues that the very act of watching films, and cinema itself, is actually a form of cartography. Unlike its function in an atlas, a map in a movie often causes the spectator to entertain broader questions—not only about cinema but also of the nature of space and being.