Film & Television: Film

Offering alternatives to the viewing and criticism of film, William Rothman challenges readers to think about film in adventurous ways that are more open to our experience of movies. In explaining the "American" quality of American film, Rothman argues compellingly that movies have inherited the philosophical perspective of American transcendentalism.

Collection of the five hundred films that have been selected, to date, for preservation by the National Film Preservation Board, and are thereby listed in the National Film Registry.

In these two volumes of original essays, scholars from around the world address the history of British colonial cinema stretching from the emergence of cinema at the height of imperialism around the turn of the century to the separate moments of decolonization, the ending of formal imperialism, in the post-Second World War period.

1. Horror in three dimensions: House of wax and Creature from the Black Lagoon -- 2. The color of blood: Hammer films and Curse of Frankenstein -- 3. "Look into the hypnotic eye!": exhibitor financing and distributor hype in fifties horror cinema -- 4. "A sissified Bela Lugosi": Vincent Price, William Castle, and AIP's Poe adaptations -- 5. Grind house or art house?: Astor Pictures and Peeping Tom -- 6. American International goes international: new markets, runaway productions, and Black Sabbath -- 7. Television syndication and the birth of the "Orphans": horror films in the local TV market -- 8. Demon children and the birth of adult horror: William Castle, Roman Polanski, and Rosemary's baby -- 9. Family monsters and urban matinees: continental distributing and Night of the living dead -- Conclusion: the horror film in the new Hollywood.

"Film noir" evokes memories of stylish, cynical, black-and-white movies from the 1940s and '50s—melodramas about private eyes, femmes fatales, criminal gangs, and lovers on the run. James Naremore's prize-winning book discusses these pictures, but also shows that the central term is more complex and paradoxical than we realize.

Sue Thornham's study explores issues in feminist filmmaking through an examination of a wide range of films by women filmmakers, ranging from the avant-garde to mainstream Hollywood, and from the 1970s to the present day.