Numero Zero Eustache
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The Virtual Life of Film
Author: D. N. RODOWICK
language: en
Publisher: Harvard University Press
Release Date: 2009-06-30
As almost every aspect of making and viewing movies is replaced by digital technologies, even the notion of "watching a film" is fast becoming an anachronism. With the likely disappearance of celluloid film stock as a medium, and the emergence of new media, what will happen to cinema--and to cinema studies? In the first of two books exploring this question, Rodowick considers the fate of film and its role in the aesthetics and culture of the twenty-first century.
Suicide in the Entertainment Industry
This work covers 840 intentional suicide cases initially reported in Daily Variety (the entertainment industry's trade journal), but also drawing attention from mainstream news media. These cases are taken from the ranks of vaudeville, film, theatre, dance, music, literature (writers with direct connections to film), and other allied fields in the entertainment industry from 1905 through 2000. Accidentally self-inflicted deaths are omitted, except for a few controversial cases. It includes the suicides of well-known personalities such as actress Peg Entwistle, who is the only person to ever commit suicide by jumping from the top of the Hollywood Sign, Marilyn Monroe and Dorothy Dandridge, who are believed to have overdosed on drugs, and Richard Farnsworth and Brian Keith, who shot themselves to end the misery of terminal cancer. Also mentioned, but in less detail, are the suicides of unknown and lesser-known members of the entertainment industry. Arranged alphabetically, each entry covers the person's personal and professional background, method of suicide, and, in some instances, includes actual statements taken from the suicide note.
The Long Take
This is the first book in English exclusively devoted to the long take, one of the key elements of film style. Increasingly visible in contemporary international media, the long take currently attracts a good deal of attention in criticism and commentary. There are also significant strands of film theory in which duration has become a recurrent concern. In keeping with the approach of Palgrave Close Readings in Film and Television, this collection is devoted to the detailed critical analysis of specific long takes, explored in terms of how they function within their contexts, how they shape the visual field, the meanings they generate and the effects they create. The Long Take: Critical Approaches brings together essays by established and emerging scholars (all but one essay commissioned for this volume) in an exciting collection that analyses works from a range of filmmaking traditions, from the 1930s to the present day, selected to represent varied long take practices and to explore associated debates.