Products related to Cinema:
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FilmQuake : The Most Disruptive Films in Cinema
Discover films that dared to be different, risked reputations and put careers in jeopardy.This is what happens when filmmakers take tradition and rip it up. FilmQuake introduces 50 movies that shook the cinematic world, telling the fascinating stories behind their creation, reception and legacy. From unbelievable developments in technology (Citizen Kane, 1941) to feminist triumphs (Wanda, 1970); films that kickstarted New Queer Cinema (Paris is Burning, 1990) to others that challenged lawmakers (A Short Film About Killing, 1988) – FilmQuake presents the movies that questioned boundaries, challenged the status quo and made shockwaves we are still feeling today. From film's first innovators, people like the Lumière brothers, whose short film of a train arriving was reported to have terrified audiences in 19th century Paris, through iconoclasts like Sergei Eisenstein and Luis Buñuel, to titans of 20th century cinema like Alfred Hitchcock and Jean-Luc Godard, discover the stories behind the films which incontrovertably changed the course of cinema forever. Into the modern day, this book examines how filmmakers have addressed themes of prejudice and inequality, from the Black Lives Matter movement and Jordan Peele's unmissable Get Out to Bong Joon-ho's cutting study of the lives of the wealthy in Parasite, as well as innovative new cinematic techniques emerging in films like 28 Days Later and Blair Witch Project. In telling the history of cinema through the works that were truly disruptive, and explaining the context in which each was created, FilmQuake demonstrates the heart of modern film, which is to constantly question boundaries and challenge expectation. This book is from the Culture Quake series, which looks into iconic moments of culture which truly created paradigm shifts in their respective fields. Also available is ArtQuake, which tells the stories of 50 pivotal works that challenged consensus and broke daring new ground in the world of art, inspiring shock and scandal as they did so, but ultimately cementing themselves as truly great works of modern art.
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Cinema
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Third Cinema, World Cinema and Marxism
Third Cinema, World Cinema and Marxism offers an analysis of Third Cinema and World Cinema from the perspective of Marxism.Its starting point is an observation that of all cinematic phenomena none is as intimately related to Marxism as Third Cinema, which decries neoliberalism, the capitalist system, and the Hollywood model of cinema as mere entertainment to make money.This is largely to do with the fact that both Marxism and Third Cinema are preoccupied with inequalities resulting from capital accumulation, of which colonialism is the most extreme manifestation.Third Cinema also defines cinematic modes in terms of representing interest of different classes, with First Cinema expressing imperialist, capitalist, bourgeois ideas, Second Cinema the aspirations of the middle stratum, the petit bourgeoisie and Third Cinema is a democratic, popular cinema.
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How Films Tell Stories : The Narratology of Cinema
How Films Tell Stories presents a concise introduction to narrative film theory. Part one discusses the basic elements of story -- plot, character, and fictional world -- as applied to cinema. Part two explores how these elements are communicated, examining time manipulation, perspective, cinematography, editing, and sound. Each chapter concludes with questions encouraging readers to produce their own analysis of the narrative strategies of films.
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Is there a cinema where old films are shown?
Yes, there are cinemas that specialize in showing old films. These cinemas often cater to film enthusiasts who enjoy classic movies and want to experience them on the big screen. Some theaters also host special screenings or film festivals dedicated to showcasing old and iconic films. Additionally, some independent cinemas may regularly include old films in their programming to offer a diverse range of movie options to their audience.
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'DDR Film Cinema'
DDR Film Cinema refers to the film industry in East Germany during the time when the country was known as the German Democratic Republic (GDR). The GDR had its own state-run film production company, DEFA, which produced a wide range of films including feature films, documentaries, and children's films. DDR Film Cinema was heavily influenced by the socialist ideology of the GDR government, and many films produced during this time promoted socialist values and ideals. Despite the political constraints placed on filmmakers by the government, DDR Film Cinema produced a number of critically acclaimed films that are still celebrated today for their artistic merit and unique perspective on life in East Germany.
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What is a metallized screen in the cinema?
A metallized screen in the cinema is a type of screen that has a metallic coating applied to its surface. This coating helps to reflect light more evenly across the screen, resulting in a brighter and more uniform image for the audience. Metallized screens are often used in larger theaters or for 3D movie presentations, as they can enhance the overall visual experience for viewers.
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Do you prefer a full cinema or an empty cinema?
I prefer a full cinema because the energy and excitement of a crowd can enhance the movie-watching experience. The laughter, gasps, and reactions of other audience members can make the movie feel more immersive and enjoyable. Additionally, a full cinema can create a sense of community and shared experience that adds to the overall enjoyment of the film.
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Films That Spill : Beyond the Cinema of Transgression
Films That Spill is a comprehensive study of the Cinema of Transgression, a hitherto under-examined moment in US underground film culture.Reconsidering the concept of transgressive cinema not only as a description of the intentionally provocative content of the films, but rather as a feature of a cross-disciplinary practice, the book explores how filmmaking in the context of the vibrant and intermingling art, music, performance, and film scenes in 1980s Lower Manhattan spilled over the boundaries of artistic disciplines, media formats, and content concepts.This study not only provides a microhistory of these scenes and insight into their afterlife in archives and exhibitions.It also represents an innovative contribution to debates within film, media, and visual culture about the methodological and historiographical challenges posed by the expansion of film beyond the discursive boundaries of cinema.
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The Cinema of Yorgos Lanthimos : Films, Form, Philosophy
From the critical and commercial fanfare his films generate, it is largely understood that Yorgos Lanthimos is one of the more interesting filmmakers to have emerged out of the new century.A markedly transnational filmmaker, between Dogtooth and The Favourite Lanthimos has managed to traverse the gap between the art-house and mainstream while not once sacrificing his unique style and worldview.His films, while often difficult, showcase his talents as a filmmaker, collaborator, and commentator on the human condition.Accompanied by a trademark acerbic wit, Lanthimos's films take aim at humanity's more contemptible and absurd designs as he explores a thematic preoccupation with, among other things, power, trauma, isolation, sex, and violence. This edited collection covers everything from an early career that was marked by experimentation with a range of different media to international festival hits including Dogtooth, The Lobster, The Killing of a Sacred Deer, and the Academy Award-winning "historical" epic The Favourite, Lanthimos's most successful feature to date.All his work demonstrates a fascinating contravention of aesthetic, thematic, and generic boundaries that forms the basis of some of the analyses to be found here.Featuring a roster of talented scholars, both new and established, The Cinema of Yorgos Lanthimos: Films, Form, Philosophy provides a timely compendium of critical approaches to one of the most distinct voices in contemporary film.
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A History of Italian Cinema : Cinema Paradiso?
This book provides a complete description of the development of Italian film and cinema from its beginnings in 1895 until today.Special emphasis is placed on those periods in which Italian film history became aesthetically decisive for world cinematography: silent film of the 1910s, neorealism after World War II, and auteur and genre cinema around 1960. And then on the multifaceted development up to the present day, which still guarantees films from Italy a significant place in international cinema.The chapters are introduced with compact descriptions of Italy's political and social history and the institutional formation of film and cinema.This is the basis for the extensive examination of genres and films.The film analyses also include a look at the reception by the audiences.
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Women's Cinema, World Cinema : Projecting Contemporary Feminisms
In Women’s Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others.The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies.Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights.Women’s Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.
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Am I going to the cinema or driving to the cinema?
It depends on your preference and circumstances. If you enjoy the experience of watching a movie on the big screen and being in a cinema environment, then you may choose to go to the cinema. However, if you prefer the convenience of watching a movie from the comfort of your own car or if you want to maintain social distancing, then you may choose to drive to a drive-in cinema instead. Ultimately, the decision between going to the cinema or driving to the cinema depends on your personal preferences and the current situation.
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Should I go to the IMAX cinema or the regular cinema?
It ultimately depends on your preferences and what you are looking for in a movie-watching experience. IMAX cinemas offer a larger screen, enhanced sound quality, and a more immersive experience, making them ideal for big-budget blockbusters or visually stunning films. On the other hand, regular cinemas are more budget-friendly and may be more suitable for casual moviegoers or smaller, dialogue-driven films. Consider what kind of movie you are planning to watch and how important the viewing experience is to you before making a decision.
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Do you buy snacks before the cinema or at the cinema?
I usually buy snacks before going to the cinema. I find that purchasing snacks at the cinema can be quite expensive, so I prefer to buy them beforehand and bring them with me. This way, I can also choose my favorite snacks and have a wider variety to choose from.
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How much does the cinema ticket cost in your favorite cinema?
The cinema ticket at my favorite cinema typically costs around $12 for a regular adult ticket. However, they also offer discounts for students, seniors, and children. Additionally, they have special pricing for matinee showings and discounted tickets on certain days of the week. Overall, the ticket prices are reasonable and there are various options for saving money on admission.
* All prices are inclusive of VAT and, if applicable, plus shipping costs. The offer information is based on the details provided by the respective shop and is updated through automated processes. Real-time updates do not occur, so deviations can occur in individual cases.