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Working Against Genre

Ken Dancyger

Ken Dancyger is the author of numerous books on screenwriting, editing, and production. He conducts screenwriting forums and workshops in North America, Europe, and Asia. A past chair of Undergraduate studies in the Department of Film and Television at NYU, he is currently Professor of Film and Television at the Tisch School of the Arts at New York University. Author affiliation details are correct at time of print publication.

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Jeff Rush

Jeff Rush is an associate professor at Temple University's Department of Film & Media Arts. He has served as director of the MFA program and as Department Chair in Film & Media Arts. He received an MFA in Screenwriting and Directing from the American Film Institute and an MFA in Fiction Writing from the University of Iowa's Writer's Workshop. In addition to teaching, Jeff has worked as a freelance screenwriter and has published numerous articles and books. Author affiliation details are correct at time of print publication.

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Alternative Scriptwriting : Beyond the Hollywood Formula

Focal Press, 2013

Book

... Working Against Genre B ecause genre provides a writer with a shorthand that audiences readily u nderstand, less time is needed to establish its characteristics. Just as char- acter stereotypes are useful to the writer, so, too...

Tending the Wounds of the Nation: Gender in Iranian War Cinema

Michelle Langford

Michelle Langford is Senior Lecturer in Film Studies at the University of New South Wales, Sydney, Australia. Her research spans the cinemas of Iran and Germany. She is author of Allegorical Images: Tableau, Time and Gesture in the Cinema of Werner Schroeter (2006) and the editor of The Directory of World Cinema: Germany (2012, 2013). Her work on Iranian cinema has appeared in leading film studies journals including Camera Obscura, Screen and Screening the Past. Author affiliation details are correct at time of print publication.

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Allegory in Iranian Cinema : The Aesthetics of Poetry and Resistance

Bloomsbury Academic, 2019

Book

...Black screen, indistinct voices, the sound of laboured breathing. Cut to the image of a young man, Ismael (Bahram Radan), his body writhing uncontrollably, overtaken by a sudden violent seizure. An old woman, Gilaneh (Fatemeh Motamed-Arya),...

Introduction: History and Film in Parallel Orbits

Eleftheria Thanouli

Eleftheria Thanouli is Assistant Professor in Film Theory at the Film Department at Aristotle University of Thessaloniki. She received her Ph.D. from the University of Amsterdam in 2005. She is the author of Post-Classical Cinema: An International Poetics of Film Narration (2009). Author affiliation details are correct at time of print publication.

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History and Film : A Tale of Two Disciplines

Bloomsbury Academic, 2019

Book

...For most historians films are first and foremost artifacts, human-made objects for particular human use much like the many other objects with which man fills his environment. The term “artifact” regularly featured in the first...

“It Was Like a Movie”: The Impossibility of Representation in Oliver Stone’s World Trade Center

Karen Randell

Karen Randell is a Principal Lecturer in Film at Southampton Solent University, UK where she is Programme Leader for Film and Television. She teaches contemporary cinema and film history and her research interests include: war genre, trauma, masculinity and early cinema. She is published on trauma in film in Art in the Age of Terrorism (London: Holberton Publication: 2005) and in SCREEN. She is co-editor(with Sean Redmond) of The War Body on Screen (Continuum, NY: 2008) and Screen Methods: Comparative Readings in Film Studies (Wallflower Press: 2005) with Jacqueline Furby. Author affiliation details are correct at time of print publication.

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Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book

...“Was it a dream?” Michael Moore’s wistful voice-over at the start of Fahrenheit 9/11 (2004) sets up a viewing experience for its audience predicated on fantasy: the joyful scene of Al Gore accepting Florida’s vote, on election night 2000...

Avatars of Destruction: Cheerleading and Deconstructing the “War on Terror” in Video Games

Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book

...In November 2007, President George W. Bush visited wounded veterans of the Iraq War and played a video game with them: a shooter taking place in a simulated Baghdad."Bush Plays Video Games with Recovering War Veterans," AFP, November 9...

Prolepsis and the “War on Terror”: Zombie Pathology and the Culture of Fear in 28 Days Later . . .

Anna Froula

Anna Froula is an Assistant Professor of film studies at East Carolina University. Froula teaches courses on war literature and film, American outlaws, national mythology, and film history, theory, and fundamentals. She has published and presented on on representations of military women, masculinity, and World War II, Vietnam, and the “War on Terror.” She is currently working on a manuscript that explores popular representations of American military women from World War II to the present. Author affiliation details are correct at time of print publication.

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Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book

...“Terrorism, like a virus, is everywhere. Immersed globally, terrorism, like the shadow of any system of domination, is ready everywhere to emerge.” Introduction Danny Boyle’s 28 Days Later . . . (2002), one of the first post-9/11 horror...

“Welcome to Hell, Private Shakespeare”

Karen Randell

Karen Randell is a Principal Lecturer in Film at Southampton Solent University, UK where she is Programme Leader for Film and Television. She teaches contemporary cinema and film history and her research interests include: war genre, trauma, masculinity and early cinema. She is published on trauma in film in Art in the Age of Terrorism (London: Holberton Publication: 2005) and in SCREEN. She is co-editor(with Sean Redmond) of The War Body on Screen (Continuum, NY: 2008) and Screen Methods: Comparative Readings in Film Studies (Wallflower Press: 2005) with Jacqueline Furby. Author affiliation details are correct at time of print publication.

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The War Body on Screen

Continuum, 2008

Book

...This film is such a shell-shock dream.Press Pack for DeathwatchThis opening heading to the Press Pack of Deathwatch alerts us to the idea that this film engages with the terms of war trauma. Further on in the pack the producers inform...

Shooting: Phase I – from Keitel to Sheen

Peter Cowie

Peter Cowie began writing about the cinema at Cambridge University in 1960. He has since published more than twenty books, including critical biographies of Bergman, Welles and Coppola. In 1963 he founded the annual International Film Guide, which he edited for forty years. Cowie has also provided commentaries for several DVDs of classic films in the Criterion Collection. He has served on the jury at numerous festivals and is a member of the board of the European Film College. Cowie was International Publishing Director of Variety from 1993 to 2000, and now lives in Switzerland. Author affiliation details are correct at time of print publication.

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The Apocalypse Now Book

Faber and Faber, 2000

Book

...You had to take a DC3 to the nearest strip, and then a 40-minute ride by jeep to the town of Baler. Each day it was another 30 minutes to the location by truck over bad roads -or 3 minutes by helicopter.Vittorio Storaro (at right...

The Land of the Dead and the Home of the Brave: Romero’s Vision of a Post-9/11 America

Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book

...“The zombie films are what I perceive as my platform, a pulpit. They have given me an opportunity to at least, not necessarily express opinions or criticize, but observe what's going on in society.”The American film industry was initially...

Cultural Anxiety, Moral Clarity, and Willful Amnesia: Filming Philip K. Dick After 9/11

Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book

...“We’re an empire now, and when we act we create our own reality. And while you’re studying that reality—judiciously, as you will—we’ll act again, creating other new realities, which you can study too.”Quoted in Ron Suskind, “Without...