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We are delighted to inform you that we will be attending the\u00a0NECS conference<\/a>\u00a0in Paris, France from the 29th June – 1st July 2017. Please stop by to browse our selection of titles on display at discounted prices, and take away some free journal samples.<\/p>\n If you are unable to attend, we would like to provide you with a special discount offer. Valid through August 1st, use discount code NECS17 at checkout and receive a 25% discount on all Film Studies titles found on our\u00a0<\/strong>website.<\/a><\/p>\n <\/p>\n Our most recent and forthcoming releases can be found in our Film and Media Catalogue<\/a> while the titles featured below include a selection of those which will be highlighted at the conference.<\/p>\n <\/p>\n <\/p>\n <\/p>\n Despite the recent explosion of scholarly interest in \u201cstar studies,\u201d Brazilian film has received comparatively little attention. As this volume demonstrates, however, the richness of Brazilian stardom extends well beyond the ubiquitous Carmen Miranda. Among the studies assembled here are fascinating explorations of figures such as Eliane Lage (the star attraction of S\u00e3o Paulo\u2019s Vera Cruz studios), cult horror movie auteur Coffin Joe, and L\u00e1zaro Ramos, the most visible Afro-Brazilian actor today. At the same time, contributors interrogate the inner workings of the star system in Brazil, from the pioneering efforts of silent-era actresses to the recent advent of the non-professional movie star.<\/p>\n Read Introduction<\/strong><\/a><\/p>\n <\/p>\n <\/p>\n Like many Eastern European countries, Poland has seen a succession of divergent economic and political regimes over the last century, from prewar \u201cembedded liberalism,\u201d through the state socialism of the Soviet era, to the present neoliberal moment. Its cinema has been inflected by these changing historical circumstances, both mirroring and resisting them. This volume is the first to analyze the entirety of the nation\u2019s film history\u2014from the reemergence of an independent Poland in 1918 to the present day\u2014through the lenses of political economy and social class, showing how Polish cinema documented ordinary life while bearing the hallmarks of specific ideologies.<\/p>\n Read Introduction<\/a><\/strong><\/p>\n <\/p>\n BODIES IN PAIN<\/a> <\/p>\n \u201cLaine\u2019s evocative, near-poetic style is refreshing after the former domination of strenuous cognitivist theory in the study of film emotion, and she offers plenty of empirical evidence to back up her claims. Surely such a sensory art form as cinema deserves to be seen (or felt) through an affective lens, and Laine makes an engaging and accessible yet thoroughly rigorous argument for doing so through her study of Aronofsky\u2019s work. Bodies in Pain is recommended for those interested in film phenomenology as well as the intersections of aestheticism, emotion, and philosophy in the cinema.\u201d<\/em> \u00b7 Film-Philosophy<\/strong><\/p>\n Bodies in Pain<\/em> looks at how Aronofsky\u2019s films engage the spectator in an affective form of viewing that involves all the senses, ultimately engendering a process of (self) reflection through their emotional dynamics.<\/p>\n Read Introduction: <\/strong>Aronofsky, Auteurship, Aesthetics<\/a><\/p>\n <\/p>\n STORIES MAKE THE WORLD<\/a> <\/p>\n \u201c<\/em>Stories Make the World is an insightful look into the craft of documentary filmmaking that should be required reading for media students. Story and honesty are needed now more than ever in an era of \u2018fake news,\u2019 half-truths, and technical virtuosity.\u201d<\/em> \u00b7 John de Graaf<\/strong>, Director of Affluenza<\/em> and fifteen other national PBS documentaries<\/p>\n Since the beginning of human history, stories have helped people make sense of their lives and their world. Today, an understanding of storytelling is invaluable as we seek to orient ourselves within a flood of raw information and an unprecedented variety of supposedly true accounts. In Stories Make the World<\/em>, award-winning screenwriter Stephen Most offers a captivating, refreshingly heartfelt exploration of how documentary filmmakers and other storytellers come to understand their subjects and cast light on the world through their art. Drawing on the author\u2019s decades of experience behind the scenes of television and film documentaries, this is an indispensable account of the principles and paradoxes that attend the quest to represent reality truthfully.<\/p>\n Read Introduction<\/strong><\/a><\/p>\n <\/p>\n ORGANIC CINEMA<\/a> <\/p>\n The \u201corganic\u201d is by now a venerable concept within aesthetics, architecture, and art history, but what might such a term mean within the spatialities and temporalities of film? By way of an answer, this concise and innovative study locates organicity in the work of B\u00e9la Tarr, the renowned Hungarian filmmaker and pioneer of the \u201cslow cinema\u201d movement. Through a wholly original analysis of the long take and other signature features of Tarr\u2019s work, author Thorsten Botz-Bornstein establishes compelling links between the seemingly remote spheres of film and architecture, revealing shared organic principles that emphasize the transcendence of boundaries.<\/p>\n Read Introduction<\/strong><\/a><\/p>\n <\/p>\n THE BRESSONIANS<\/a> <\/p>\n How should we understand film authorship in an era when the idea of the solitary and sovereign auteur has come under attack, with critics proclaiming the death of the author and the end of cinema? The Bressonians<\/em> provides an answer in the form of a strikingly original study of Bresson and his influence on the work of filmmakers Jean Eustache and Maurice Pialat. Extending the discourse of authorship beyond the idea of a singular visionary, it explores how the imperatives of excellence function within cinema\u2019s pluralistic community. Bresson\u2019s example offered both an artistic legacy and a creative burden within which filmmakers reckoned in different, often arduous, and altogether compelling ways.<\/p>\n <\/p>\n THE MAN FROM THE THIRD ROW<\/a> <\/p>\n Until his early retirement at age 50, Hasse Ekman was one of the leading lights of Swedish cinema, an actor, writer, and director of prodigious talents. Yet today his work is virtually unknown outside of Sweden, eclipsed by the filmography of his occasional collaborator (and frequent rival) Ingmar Bergman. This comprehensive introduction\u2014the first ever in English\u2014follows Ekman\u2019s career from his early days as a film journalist, through landmark films such as Girl with Hyacinths (1950), to his retirement amid exhaustion and disillusionment. Combining historical context with insightful analyses of Ekman\u2019s styles and themes, this long overdue study considerably enriches our understanding of Swedish film history.<\/p>\n <\/p>\n RE-IMAGINING DEFA <\/p>\n \u201cBerghahn is known for its publication of excellent books on German Cinema within its catalog. This recent work proves no exception to the rule. Including fifteen essays by well known scholars in the field aware of the changing complexities of subject matter and well versed in necessary archive research, [it] presents a fine collection exploring a cinema that is very little known to most Western viewers\u2026a sterling example of what a scholarly academic anthology should be, an excellent model in its own right that should stimulate others to investigate this former national cinema and not consign it to oblivion.\u201d<\/em> \u00b7 Film International<\/strong><\/p>\n <\/p>\n By the time the Berlin Wall collapsed, the cinema of the German Democratic Republic\u2014to the extent it was considered at all\u2014was widely regarded as a footnote to European film history, with little of enduring value. Since then, interest in East German cinema has exploded, inspiring innumerable festivals, books, and exhibits on the GDR\u2019s rich and varied filmic output. In Re-Imagining DEFA<\/em>, leading international experts take stock of this vibrant landscape and plot an ambitious course for future research, one that considers other cinematic traditions, brings genre and popular works into the fold, and encompasses DEFA\u2019s complex post-unification \u201cafterlife.\u201d<\/p>\n Read Introduction:<\/strong> Re-Imagining East German Cinema<\/a><\/p>\n <\/p>\n <\/p>\n Through his influential work on cultural capital and social mobility, the French sociologist Pierre Bourdieu has provided critical insights into the complex interactions of power, class, and culture in the modern era. Ubiquitous though Bourdieu\u2019s theories are, however, they have only intermittently been used to study some of the most important forms of cultural production today: cinema and new media. With topics ranging from film festivals and photography to constantly evolving mobile technologies, this collection demonstrates the enormous relevance that Bourdieu\u2019s key concepts hold for the field of media studies, deploying them as powerful tools of analysis and forging new avenues of inquiry in the process.<\/p>\n Read Introduction:<\/strong> Bourdieu on Media and Film<\/a><\/p>\n <\/p>\n <\/p>\n As with many aspects of European cultural life, film was galvanized and transformed by the revolutionary fervor of 1968. This groundbreaking study provides a full account of the era\u2019s cinematic crises, innovations, and provocations, as well as the social and aesthetic contexts in which they appeared. The author mounts a genuinely fresh analysis of a contested period in which everything from the avant-garde experiments of Godard, Pasolini, Schroeter, and Fassbinder to the \u201clow\u201d cinematic genres of horror, pornography, and the Western reflected the cultural upheaval of youth in revolt\u2014a cinema for the barricades.<\/p>\n Read Chapter 1.<\/a><\/strong> \u201cAll All All\u201d<\/a><\/p>\n <\/p>\n <\/p>\n In their bold experimentation and bracing engagement with culture and politics, the \u201cNew Hollywood\u201d films of the late 1960s and early 1970s are justly celebrated contributions to American cinematic history. Relatively unexplored, however, has been the profound environmental sensibility that characterized movies such as The Wild Bunch, Chinatown<\/em>, and Nashville<\/em>. This brisk and engaging study explores how many hallmarks of New Hollywood filmmaking, such as the increased reliance on location shooting and the rejection of American self-mythologizing, made the era such a vividly \u201cgrounded\u201d cinematic moment. Synthesizing a range of narrative, aesthetic, and ecocritical theories, it offers a genuinely fresh perspective on one of the most studied periods in film history.<\/p>\n Read Introduction<\/a><\/strong><\/p>\n Film Europa<\/a><\/em> Series<\/strong> “This is a series which, in a very short period of time, has had a huge impact on the field.”<\/em>\u00a0\u00a0\u00b7\u00a0\u00a0Monatshefte<\/strong><\/p>\n German cinema is normally seen as a distinct form, but this series emphasizes connections, influences, and exchanges of German cinema across national borders, as well as its links with other media and art forms. Individual titles present traditional historical research (archival work, industry studies) as well as new critical approaches in film and media studies (theories of the transnational), with a special emphasis on the continuities associated with popular traditions and local perspectives.<\/p>\n <\/p>\n GERMAN TELEVISION<\/a> <\/p>\n Long overlooked by scholars and critics, the history and aesthetics of German television have only recently begun to attract serious, sustained attention, and then largely within Germany. This ambitious volume, the first in English on the subject, provides a much-needed corrective in the form of penetrating essays on the distinctive theories, practices, and social-historical contexts that have defined television in Germany. Encompassing developments from the dawn of the medium through the Cold War and post-reunification, this is an essential introduction to a rich and varied media tradition.<\/p>\n Read Introduction<\/strong><\/a><\/p>\n <\/p>\n IMPERIAL PROJECTIONS<\/a> <\/p>\n \u201cOne cannot rank the significance of Fuhrmann\u2019s book as a model of German film historiography highly enough. Not only does Imperial Projection offer the first convincing overall overview of a forgotten and suppressed chapter of German film history; the book makes also clear what a modern, methodologically innovative and empirically supported film historiography is capable of achieving.\u201d<\/em> \u00b7 H-Soz-Kult<\/strong><\/p>\n This book is the first in-depth analysis of colonial filmmaking in the Wilhelmine Era.<\/p>\n Read Introduction<\/a><\/strong><\/p>\n <\/p>\n 2014 PREMIO LIMINA PRIZE FOR BEST FILM STUDIES BOOK (IN A LANGUAGE OTHER THAN ITALIAN)<\/p>\n THE EMERGENCE OF FILM CULTURE<\/a> <\/p>\n \u201c\u2026the book offers a rich and articulated picture of the organization and building of film culture in interwar Europe, and proves to be very keen in disclosing unexplored corners of well-known national film histories (as the Italian and German ones), but also of little explored scenarios (such as Swedish film culture or the Yugoslavian case).\u201d<\/em> \u00b7 Historical Journal of Film, Radio and Television<\/strong><\/p>\n By examining the extraordinarily rich and creative uses of cinema in the interwar period, we can examine the roots of film culture as we know it today.<\/p>\n Read Introduction:<\/strong> The Emergence of Film Culture<\/a><\/p>\n For a full selection of titles in Film Europa <\/em>please visit series page<\/a><\/strong><\/p>\n OF RELATED INTEREST FROM BERGHAHN JOURNALS<\/a> \u00a0\u00a0<\/strong><\/p>\n <\/p>\n The Journal for Movies and Mind<\/a><\/strong><\/p>\n <\/p>\n Projections<\/em> is an interdisciplinary, peer-reviewed journal that explores how the mind experiences, understands, and interprets the audiovisual and narrative structures of cinema and other visual media. Recognizing cinema as an art form, the journal aims to integrate established traditions of analyzing media aesthetics with current research into perception, cognition, and emotion, according to frameworks supplied by psychology, psychoanalysis, and the cognitive and neurosciences.<\/p>\n <\/p>\n An Interdisciplinary Journal of Experience, Perception, and Display<\/a><\/strong><\/p>\n <\/p>\n Screen Bodies<\/em>\u00a0is a peer-reviewed journal focusing on the intersection of Screen Studies and Body Studies across disciplines, institutions, and media. It is a forum promoting research on various aspects of embodiment on and in front of screens through articles, reviews, and interviews.\u00a0Screen Bodies<\/em>\u00a0addresses the portrayal, function, and reception of bodies on and in front of screens from the perspectives of gender and sexuality, feminism and masculinity, trans* studies, queer theory, critical race theory, cyborg studies, and dis\/ability studies.<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" We are delighted to inform you that we will be attending the\u00a0NECS conference\u00a0in Paris, France from the 29th June – 1st July 2017. Please stop by to browse our selection of titles on display at discounted prices, and take away some free journal samples. If you are unable to attend, we would like to provide… Read More<\/a><\/p>\n","protected":false},"author":19,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[299,627,447,1794,379,111,207,711,177,1763,625,795,545,550,1783,796,794,230,204],"_links":{"self":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts\/10152"}],"collection":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/users\/19"}],"replies":[{"embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/comments?post=10152"}],"version-history":[{"count":6,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts\/10152\/revisions"}],"predecessor-version":[{"id":20872,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/posts\/10152\/revisions\/20872"}],"wp:attachment":[{"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/media?parent=10152"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/categories?post=10152"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.berghahnbooks.com\/blog\/wp-json\/wp\/v2\/tags?post=10152"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/BergfelderStars.jpg\")
STARS AND STARDOM IN BRAZILIAN CINEMA<\/a>
\nEdited by Tim Bergfelder, Lisa Shaw and Jo\u00e3o Luiz Vieira<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/MazierskaPoland.jpg\")
POLAND DAILY<\/a>
\nEconomy, Work, Consumption and Social Class in Polish Cinema
\nEwa Mazierska<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/LaineBodies.jpg\")
New in Paperback<\/em><\/p>\n
\nEmotion and the Cinema of Darren Aronofsky
\nTarja Laine<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/MostStories.jpg\")
Forthcoming! Paperback<\/em><\/p>\n
\nReflections on Storytelling and the Art of the Documentary
\nStephen Most<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/Botz-BornsteinOrganic.jpg\")
Forthcoming<\/em><\/p>\n
\nFilm, Architecture, and the Work of B\u00e9la Tarr
\nThorsten Botz-Bornstein<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/MorariBressonians.jpg\")
Forthcoming<\/em><\/p>\n
\nFrench Cinema and the Culture of Authorship
\nCodru\u0163a Morari<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/GustafssonMan.jpg\")
Paperback<\/em><\/p>\n
\nHasse Ekman, Swedish Cinema and the Long Shadow of Ingmar Bergman
\nFredrik Gustafsson<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/AllanRe-Imagining.jpg\")
Paperback<\/em><\/p>\n
\nEast German Cinema in its National and Transnational Contexts
\nEdited by Se\u00e1n Allan and Sebastian Heiduschke<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/AustinNew.jpg\")
NEW USES OF BOURDIEU IN FILM AND MEDIA STUDIES<\/a>
\nEdited by Guy Austin<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/HalliganDesires.jpg\")
DESIRES FOR REALITY<\/a>
\nRadicalism and Revolution in Western European Film
\nBenjamin Halligan<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/OBrienTransactions.jpg\"){kind=spacer}
TRANSACTIONS WITH THE WORLD<\/a>
\nEcocriticism and the Environmental Sensibility of New Hollywood
\nAdam O’Brien<\/p>\n
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\nGerman Cinema in an International Context<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/PowellGerman.jpg\")
Volume 19<\/p>\n
\nHistorical and Theoretical Perspectives
\nEdited by Larson Powell and Robert R. Shandley<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/FuhrmannImperial.jpg\")
<\/em>Volume 17, New in Paperback<\/em><\/p>\n
\nScreening the German Colonies
\nWolfgang Fuhrmann<\/p>\n![\"\"](\"http:\/\/www.berghahnbooks.com\/covers\/HagenerEmergence.jpg\")
Volume 16, New in Paperback<\/em><\/p>\n
\nKnowledge Production, Institution Building, and the Fate of the Avant-garde in Europe, 1919-1945
\nEdited by Malte Hagener<\/p>\n
\n![\"Projections\"](\"http:\/\/www.berghahnjournals.com\/view\/journals\/projections\/large-projections_cover.jpg\")
Projections<\/a><\/strong><\/p>\n![\"Screen](\"http:\/\/www.berghahnjournals.com\/view\/journals\/screen-bodies\/full-screen-bodies_cover.jpg\")
Screen Bodies<\/a><\/strong><\/p>\n