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Gesture, Time, Movement

Janet Harbord

Janet Harbord is Professor of Film Studies at Queen Mary, University of London, UK. She is the author of several books on film and philosophies of the moving image, including Chris Marker: La Jetée (2009), The Evolution of Film (2006) and Film Cultures (2002). She is the recipient of grants from the AHRC, EPSRC and the Leverhulme Trust. Author affiliation details are correct at time of print publication.

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Cinema and Agamben : Ethics, Biopolitics and the Moving Image

Bloomsbury Academic, 2014

Book chapter

...Across the corpus of Giorgio Agamben’s work lie scattered a number of speculative propositions on what may be said to define or characterize the species of the human. One of the most forceful of these speculations occurs in the introduction...


Robert Klenner

Robert Klenner is the Acting Head of Directing at The Australian Film, Television and Radio School. Author affiliation details are correct at time of print publication.

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Directing Screen Performances

Bloomsbury Academic, 2019

Book chapter

...Directing the shoot is about being in the moment—engaging with people and physical settings, and making countless decisions. It is challenging, stressful, and exhilarating. You may find that once you start production you enter a kind...

From the Photogenic to the Simulacrum

Nitzan Ben-Shaul

Nitzan Ben-Shaul is Associate Professor at the Film and Television Department in Tel Aviv University. He is the author of Mythical Expressions of Siege in Israeli Films, Introduction to Film Theories and A Violent World: Competing Images of Middle East Conflicts. Author affiliation details are correct at time of print publication.

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Film : The Key Concepts

Berg, 2007

Book chapter

...Introduction The concept of the photogenic in film was developed by French theorist and filmmaker Jean Epstein. It concerns the specific nature of the film image. For the different variants of the realist approach to film...

Virtual Reality – Tautological Oxymoron

Malcolm Le Grice

Peter Kardia is widely recognised as a radical and influential teacher at both Saint Martins and the Royal College during the 60s and 70s, and his essay on how we should be approaching art and education will be central to the book. Hester Wesley has researched and written on Peter's influence on art education and his teaching at Saint Martins and the Royal College, placing it into wider context of art education generally. The last essay will be by Malcolm Le Grice (art historian) on the influence of the art teacher and art schools in history on the artist. The introduction is by Roderick Coyne who is an artist and who also taught at Saint Martins for 10 years. Author affiliation details are correct at time of print publication.

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New Screen Media : Cinema/Art/Narrative

British Film Institute, 2002

Book chapter

...For a short while one of my forms of relaxation was flying a light single-engine, high wing monoplane. I particularly enjoyed taking a flight around the bay area of San Francisco – around Berkeley along the Bay Bridge over Treasure Island...

Experimental Animation

The Animation Studies Reader

Bloomsbury Academic, 2019

Book chapter

...Experimental animation offers a distinct set of formal challenges to the spectator. Watching a commercial animation, the viewer is typically compelled to speculate on how the narrative conflicts might be resolved, and they are also invited...

Bowie’s Covers: The Artist as Modernist

Enchanting David Bowie : Space/Time/Body/Memory

Bloomsbury Academic, 2015

Book chapter

...Introduction: Hunky Dory Hunky Dory (1971), David Bowie’s highly regarded third album, may perhaps best be viewed as a kind of ground-clearing operation, the opening up and making available of the space for Bowie’s extraordinary...
...Caption on black screen: LYTTON AND CARRINGTON 1915 LEWES STATION. DAY The hiss and clatter of a steam train. A small, dirty engine pulls its train into the deserted station, shabby from wartime neglect. One door opens and a man steps...


Pam Cook

PAM COOK is Professor Emerita in Film at the University of Southampton, UK. She is the editor of The Cinema Book (3rd Edition, 2007) and Gainsborough Pictures (BFI, 1997), and the author of Fashioning the Nation: Costume and Identity in British Cinema (1996), the BFI Film Classic on ‘I Know Where I’m Going!; (2002), Screening the Past: Memory and Nostalgia in Cinema (2005), and Baz Luhrmann in the BFI World Directors series (2010). Author affiliation details are correct at time of print publication.

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The Cinema Book

British Film Institute, 2007

Book chapter

...Holly Hunter and Anna Paquin in Jane Campion’s The PianoDebates about authorship in cinema occupied a privileged position in film studies from the 1950s – when the French journal Cahiers du cinéma formulated the influential politique des...

Amateurs: Naïve Artists or Everyday Experts?

Materializing Memories : Dispositifs, Generations, Amateurs

Bloomsbury Academic, 2018

Book chapter

...What are the skills, the pleasures and the subjective meanings of being “amateur” using the internet to express his passion? The amateur is not the opposite of the professional, he is halfway between the ordinary man and the professional...


Barry Monahan

Barry Monahan is lecturer in Film Studies at the University College Cork, Ireland. He has published Ireland’s Theatre on Film: Style, Stories and the National Stage on Screen (2009), and also written on Irish cinema from different theoretical and aesthetic perspectives in various collections of essays, including Screening Irish America (2009), Genre and Cinema: Ireland and Transnationalism (2007), and Viewpoints: Theoretical Perspectives on Irish Visual Texts (2013). He contributes regularly to Estudios Irlandeses, the Spanish Journal of Irish Studies. Author affiliation details are correct at time of print publication.

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The Films of Lenny Abrahamson : A Filmmaking of Philosophy

Bloomsbury Academic, 2018

Book chapter

...Inside the head of the character in early cinema The spectacular nature of the earliest cinematic projections enthralled audiences because of the ways that details and movements were...