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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),...

Parting the Iron Curtain: Michael Klinger’s attempt to make A Man and a Half

Andrew Spicer

Dr Andrew Spicer, Reader in Cultural History at the University of the West of England, UK, has published widely on British cinema, masculinity and film noir, including Typical Men: The Representation of Masculinity in Popular British Cinema (2001/03), Film Noir (2002), Sydney Box (2006), the Historical Dictionary of Film Noir (2010) and, as editor, European Film Noir (2007). He is currently co-editing the Companion to Film Noir (Wiley-Blackwell) and co-authoring The Man Who Got Carter: Michael Klinger, Independent Production and the British Film Industry, 1960-1980 (I.B. Tauris). Author affiliation details are correct at time of print publication.

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Shadow Cinema : The Historical and Production Contexts of Unmade Films

Bloomsbury Academic, 2020

Book

...Between 1967 and 1984, Michael Klinger attempted to make a war film A Man and a Half. It was to be an international production through which Klinger intended to establish himself as an important independent producer. Although the film...

The Emperor’s Naked Army Marches On (Yuki yukite shingun)

Jim Hillier

Jim Hillier, who died in 2014, was Visiting Lecturer in the Department of Film and Television Studies at the University of Reading, UK. He was a pioneer of film education in the UK. His publications include, as co-author, 100 Documentary Films and 100 Film Noirs in the BFI Screen Guides series (2008); American Independent Cinema (2001), The Film Studies Dictionary (2000) and Howard Hawks: American Artist (1996). Author affiliation details are correct at time of print publication.

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100 Documentary Films : BFI Screen Guides

British Film Institute, 2009

Book

...Okuzaki Kenzo was a common soldier in the Japanese Army during World War II, stationed in New Guinea as the war ended. An anti-war campaigner, refusing to let Japanese silence about its role in World War II lie undisturbed, he denounced...

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...

“1776” or, The Hessian Renegades

The Griffith Project Volume 3 : Films Produced in July–December 1909

British Film Institute, 1999

Book

...Production company: BiographFilming date: 26 July, 2/3 August 1909Location: New York Studio/Cuddebackville, New YorkRelease date: 6 September 1909Release length: 965 feetCopyright date:9 September 1909Director: D.W. GriffithAuthor: none...

“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...

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...

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...

“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...