The chapters in The Oxford Handbook of Canadian Cinema present a rich, diverse overview of Canadian cinema. Responding to the latest developments in Canadian film studies, this volume takes into account the variety of artistic voices, media technologies, and places which have marked cinema in Canada throughout its history. Drawing on a range of established and emerging scholars from a range of disciplines, this volume will be useful to teachers, scholars, and to a general readership interested in cinema in Canada. Moving beyond the director-focused approach of much previous scholarship, this book is concerned with communities, institutions, and audiences for Canadian cinema at both national and international levels. The choice of subjects covered ranges from popular, genre cinema to the most experimental of artistic interventions. Canadian cinema is seen in its interaction with other forms of art-making and media production in Canada and at the international level. Particular attention has been paid to the work of Indigenous filmmakers, members of diasporic communities and feminist and LGBTQ artists. The result is a book attentive to the complex social and institutional contexts in which Canadian cinema is made and consumed.

The chapters in The Oxford Handbook of Canadian Cinema present a rich, diverse overview of Canadian cinema. Responding to the latest developments in Canadian film studies, this volume takes into account the variety of artistic voices, media technologies, and places which have marked cinema in Canada throughout its history. Drawing on a range of established and emerging scholars from a range of disciplines, this volume will be useful to teachers, scholars, and to a general readership interested in cinema in Canada. Moving beyond the director-focused approach of much previous scholarship, this book is concerned with communities, institutions, and audiences for Canadian cinema at both national and international levels. The choice of subjects covered ranges from popular, genre cinema to the most experimental of artistic interventions. Canadian cinema is seen in its interaction with other forms of art-making and media production in Canada and at the international level. Particular attention has been paid to the work of Indigenous filmmakers, members of diasporic communities and feminist and LGBTQ artists. The result is a book attentive to the complex social and institutional contexts in which Canadian cinema is made and consumed.

This collection of ten chapters and three original interviews with Québécois filmmakers focuses on the past two decades of Quebec cinema and takes an in-depth look at a (primarily) Montreal-based filmmaking industry whose increasingly diverse productions continue to resist the hegemony of Hollywood and to exist as a visible and successful hub of French-language – and ever more multilingual – cinema in North America. This volume picks up where Bill Marshall’s 2001 Quebec National Cinema ends to investigate the inherently global nature of Quebec’s film industry and cinematic output since the beginning of the new millennium. Through their analyses of contemporary films (Une colonie, Avant les rues, Bon cop, bad cop, Les Affamés, Tom à la ferme, Uvanga, among others), directors (including Xavier Dolan, Denis Côté, Sophie Desrape, Chloé Robichaud, Jean-Marc Vallée, and Monia Chokri) and genres (such as the buddy comedy and the zombie film), our authors examine the growing tension between Quebec cinema as a “national cinema” and as an art form that reflects the transnationalism of today’s world, a new form of fluidity of individual experiences, and an increasing on-screen presence of Indigenous subjects, both within and outside the borders of the province. The book concludes with specially conducted interviews with filmmakers Denis Chouinard, Bachir Bensadekk, and Marie-Hélène Cousineau, who provide their views and insights on contemporary Quebec filmmaking.

At the turn of the millennium Canadian cinema appeared to have reached an apex of aesthetic and commercial transformation. Domestic filmmaking has since declined in visibility: the sense of celebrity once associated with independent directors has diminished, projects garner less critical attention, and concepts that made late-twentieth-century Canadian film legible have been reconsidered or displaced. Canadian Cinema in the New Millennium examines this dramatic transformation and revitalizes our engagement with Canadian cinema in the contemporary moment, presenting focused case studies of films and filmmakers and contextual studies of Canadian film policy, labour, and film festivals. Contributors trace key developments since 2000, including the renouveau or Quebec New Wave, Indigenous filmmaking, i-docs, and diasporic experimental filmmaking. Reflecting the way film in Canada mediates multiple cultures, forging new affinities among anglophone, francophone, and Indigenous-language examples, this book engages familiar figures, such as Denis Villeneuve, Xavier Dolan, Sarah Polley, and Guy Maddin, in the same breath as small-budget independent films, documentaries, and experimental works that have emerged in the Canadian scene. Fuelled by close attention to the films themselves and a desire to develop new scholarly approaches, Canadian Cinema in the New Millennium models a renewed commitment to keeping the conversation about Canadian cinema vibrant and alive.

Defined as an ecological epoch in which humans have the most impact on the environment, the Anthropocene poses challenging questions to literary and cultural studies. If, in the Anthropocene, the distinction between nature and culture increasingly collapses, we have to rethink our division between historiography and natural history, as well as notions of the subject and of agency since the Enlightenment. This anthology collects papers from literary and cultural studies that address various issues surrounding the topic. Even though the new epoch seems to require a collective self-understanding as a unified species, readings of the Anthropocene and conceptualizations of human-nature relationships largely differ in Anglophone literatures and cultures. These differing perspectives are reflected in the structure of this book, which is divided into five separate sections: the introductory part familiarizes the reader with the concept and the challenges it poses for the humanities in general and for literary and cultural studies in particular, and the three following sections combine broader, more theoretical, essays with in-depth critical readings of US, Canadian, and Australian representations of the Anthropocene in literature. The final part moves beyond literature to include media theoretical perspectives and discussions of photography and cinema in the Anthropocene.

This book provides a multifaceted single-volume account of Japanese cinema. It addresses productive debates about what Japanese cinema is, where Japanese cinema is, as well as what and where Japanese cinema studies is, at the so-called period of crisis of national boundary under globalization and the so-called period of crisis of cinema under digitalization.

This handbook examines film and new media in the light of their convergence. It draws on leading scholars in the field to discuss traditional areas of history and theory of film and digital media. Its focus, however, is on the cycle of technologically driven arts. Film was born of a number of experiments in reproducing motion, all of which culminated in the nineteenth-century projection of short films. The creation of digital media resulted from experiments in alternative forms of representation in the early 1960s. John Whitney began creating avant-garde films from digital graphics around 1960 (and some of his ideas and methods were incorporated by Stanley Kubrick in 2001: A Space Odyssey). By the early 1990s, commercial filmmakers began to employ digital effects in their work. By the late nineties, digital arts had come fully into their own, both in the form of stand-alone or interactive artworks and films created with and for the computer. At the same time, digital effects had completely overtaken optical printing and matte painting in film. From special effects to creating "realistic" backgrounds and crowds, the digital is infiltrating all aspects of filmmaking. The infiltration is about to become a takeover, as celluloid is replaced by high definition digital recording and projection processes. Many aspects of film will change as this latest convergence takes place. Already, cultural response to film has changed as viewers begin to teach themselves about film through supplementary material on DVDs and to make their own films on home computers. But this handbook is not a technical history or manual. Quite the contrary, it is a scholarly work discussing the aesthetics, economics, and cultural results of these changes and convergences. The book balances traditional scholarship and analysis with essays addressing technological change and the concurrent changes in cultural responses to these changes, responses already acknowledged by the profession.

Internet Studies has been one of the most dynamic and rapidly expanding interdisciplinary fields to emerge over the last decade. The Oxford Handbook of Internet Studies has been designed to provide a valuable resource for academics and students in this area, bringing together leading scholarly perspectives on how the Internet has been studied and how the research agenda should be pursued in the future. The Handbook aims to focus on Internet Studies as an emerging field, each chapter seeking to provide a synthesis and critical assessment of the research in a particular area. Topics covered include social perspectives on the technology of the Internet, its role in everyday life and work, implications for communication, power, and influence, and the governance and regulation of the Internet. The Handbook is a landmark in this new interdisciplinary field, not only helping to strengthen research on the key questions, but also shape research, policy, and practice across many disciplines that are finding the Internet and its political, economic, cultural, and other societal implications increasingly central to their own key areas of inquiry.

What does it mean to interact with sound? How does interactivity alter our experience as creators and listeners? What does the future hold for interactive musical and sonic experiences? This book answers these questions with newly-commissioned chapters that explore the full range of interactive audio in games, performance, design, and practice.

The Oxford Handbook of Children's Literature is at once a literary history, an introduction to various theoretical perspectives and methodological approaches, a review of genres, and a selection of original and interdisciplinary essays on canonical and popular works for children in the Anglo-American tradition. It is geared toward graduate students, advanced undergraduates, and scholars new to the study of children's literature, as well as teachers and anyone wishing to keep up with new research and innovative approaches to children's literature. Twenty-six essays by top scholars from varied disciplines address theoretical, historical, sociological, and critical issues through analyses of classic novels such as Alice's Adventures in Wonderland, Anne of Green Gables, The Swiss Family Robinson, Tom Sawyer, Kidnapped, and Five Little Peppers and How They Grew; early educational and religious works such as The New England Primer and Froggy's Little Brother; picture books, comics and graphic novels such as Millions of Cats, Where the Wild Things Are, the Peanuts series and American Born Chinese; early readers such as The Cat in the Hat and the Frog and Toad books; newer children's classics including Are You There, God? It's Me, Margaret, Jade, Roll of Thunder, Hear My Cry, The Circuit, the Harry Potter series and His Dark Materials trilogy; works of poetry such as The Bat Poety and The Dreamkeeper; a play, Peter Pan; and media classics such as Free to Be You and Me and Dumbo. An editors' introduction surveys key trends in criticism, the field's history, and foundational scholarship.