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Sarah Neely and Sarah Smith – The art of maximal ventriloquy: Femininity as labour in the films of Rachel Maclean

Women Artists, Feminism and the Moving Image : Contexts and Practices

Bloomsbury Academic, 2019

Book

7

... effectively shores up the gap that is essential to the efficacy of feminist art.For a further discussion of Ullman’s work in relation to feminist body art, see Smith, Sarah, ‘Posing as art: the ambiguities of feminist body art...

The ambitious girl and the British sports film

Sarah Hill

Sarah Hill is Early Career Academic Fellow in the School of Arts and Cultures at Newcastle University, UK. Her research interests include British cinema, feminist media studies, female authorship and girlhood Author affiliation details are correct at time of print publication.

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Young Women, Girls and Postfeminism in Contemporary British Film

Bloomsbury Academic, 2020

Book

1

... Shimmies into First Place at UK Box Office’. Referring directly to the film’s depiction of London, Fitzherbert notes how ‘it’s a thrill to find London photographed with such appealing slickness, all gleaming skyscrapers and pink skylines,...

Apprenticeship for Stardom

Sarah Street

Sarah Street Professor of Film at the University of Bristol. She is the author of a number of books on British cinema, including Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012), and is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Liz Watkins), publications which, in addition to this volume, resulted from a research project funded by the AHRC. Sarah Street is co-editor of Screen and the Journal of British Cinema and Television. Author affiliation details are correct at time of print publication.

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Deborah Kerr

British Film Institute, 2018

Book

1

... sordid surroundings” and “there is too much of the tragic and sordid side of poverty ... and the final incident of Sally selling herself is prohibitive”. For a full analysis of the censorship of Love on the Dole, see Sarah Street, British...

The 1970s to 2000

Sarah Street

Sarah Street Professor of Film at the University of Bristol. She is the author of a number of books on British cinema, including Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012), and is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Liz Watkins), publications which, in addition to this volume, resulted from a research project funded by the AHRC. Sarah Street is co-editor of Screen and the Journal of British Cinema and Television. Author affiliation details are correct at time of print publication.

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Transatlantic Crossings : British Feature Films in the United States

Bloomsbury Academic, 2002

Book

1

... to surrealist comedy that had been popularized in America by Peter Sellers with the Goon show, and was evident to some degree in A Hard Day’s Night. The Pink Panther series also made an impact, again featuring Peter Sellers. A Fish Called Wanda,...

Girl friendship and the formation of feminine identity

Sarah Hill

Sarah Hill is Early Career Academic Fellow in the School of Arts and Cultures at Newcastle University, UK. Her research interests include British cinema, feminist media studies, female authorship and girlhood Author affiliation details are correct at time of print publication.

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Young Women, Girls and Postfeminism in Contemporary British Film

Bloomsbury Academic, 2020

Book

1

... culture during the 2000s. As Sarah Projansky argues, discourses of contemporary girlhood and celebrity are mutually dependent on each other, with individualism, identity and self-realization at the heart of both girlhood and celebrity....

Genre Filmmaking in Hollywood

Sarah Street

Sarah Street Professor of Film at the University of Bristol. She is the author of a number of books on British cinema, including Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012), and is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Liz Watkins), publications which, in addition to this volume, resulted from a research project funded by the AHRC. Sarah Street is co-editor of Screen and the Journal of British Cinema and Television. Author affiliation details are correct at time of print publication.

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Deborah Kerr

British Film Institute, 2018

Book

1

... Christians, narrowly escaping being gored to death by a wild bull in the public arena. When Marcus first comes across Lygia, she is wearing a pink toga-style long dress. The cinematography heightens her “Technicolor tan” soft, waxy Max Factor skin...

Being Struck

Animal Life and the Moving Image

British Film Institute, 2015

Book

2

... that commission members and a growing queue of photojournalists and videographers can see the screen. From the palpable sense of discomfort in the room and the orangey-pink glow of the screen viewers understand that he is screening the same graphic...

Seeing, Sensing Sound

Andrea Rassell

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Andrea Rassell

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Jenny Robinson

,

Jenny Robinson

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Darrin Verhagen

,

Darrin Verhagen

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Sarah Pink

,

Sean Redmond

Sean Redmond is Associate Professor in Media and Communication at Deakin University in Melbourne, Australia. He is editor of the journal Celebrity Studies, author of The Cinema of Takeshi Kitano: Flowering Blood (2013), andCelebrity and the Media (2013). Author affiliation details are correct at time of print publication.

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Jane Stadler

Jane Stadler is Senior Lecturer in Film and Television at the School of English, Media Studies, and Art History at the University of Queensland. She is co-editor of Pockets of Change (with Tricia Hopton, Adam Atkinson, and Peta Mitchell, 2011), co-author of Media and Society (with Michael O'Shaughnessy, 2012) and Screen Media (with Kelly McWilliam, 2009), and has published journal articles on phenomenology, ethics, aesthetics, identity, and screen landscapes. Author affiliation details are correct at time of print publication.

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Making Sense of Cinema : Empirical Studies into Film Spectators and Spectatorship

Bloomsbury Academic, 2016

Book

2

...Introduction Visual studies scholars have often suggested that we live in an ocular age organized around the primacy and potency of looking and seeing (Berger 1972; Evans and Hall, 1999). Similarly, in film and cinema studies...

Introduction

Daniela Treveri Gennari

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Daniela Treveri Gennari is Reader in Film Studies at Oxford Brookes University, UK, with a research interest in audiences, popular cinema, film exhibition and programming. Amongst her recent publications: the edited volume Rural Cinema Exhibition and Audiences in a Global Context (2018, with Catherine O’Rawe and Danielle Hipkins). Author affiliation details are correct at time of print publication.

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Catherine O’Rawe

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Catherine O’Rawe is Reader in Modern Italian Culture at the University of Bristol, UK. She is the author of Stars and Masculinities in Contemporary Italian Cinema (2014), co-author (with Jacqueline Reich) of Divi: la mascolinità nel cinema italiano (2015), and has published widely on gender and stardom in Italian post-war and contemporary cinema. Author affiliation details are correct at time of print publication.

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Danielle Hipkins

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Danielle Hipkins is Associate Professor of Italian Studies and Film at the University of Exeter, UK. She has published widely on gender representation in postwar Italian cinema, and has recently written Italy’s Other Women: Gender and prostitution in postwar Italian cinema, 1940-1965 (2016) and co-edited Prostitution and Sex Work in Global Cinema: New takes on fallen women (2017). Author affiliation details are correct at time of print publication.

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Silvia Dibeltulo

Silvia Dibeltulo is Senior Lecturer in Communication, Media and Culture at Oxford Brookes University, UK, where she previously worked on the AHRC-funded Italian Cinema Audiences project and the BA/Leverhulme-funded European Cinema Audiences project. Her publications the edited volume Rethinking Genre in Contemporary Global Cinema (2018, with Ciara Barrett). Author affiliation details are correct at time of print publication.

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Sarah Culhane

Sarah Culhane is currently a Research Fellow at Oxford Brookes University, UK, working on the Italian Cinema Audiences follow on project, ICAMAP (2017-2018). ICAMAP is an online archive that allows users to explore the history of cinema-going in 1950s Italy. Her publications include ‘Street Cries and Street Fights: Anna Magnani, Sophia Loren and the popolana’ (The Italianist, 2017). Author affiliation details are correct at time of print publication.

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Italian Cinema Audiences : Histories and Memories of Cinema-going in Post-War Italy

Bloomsbury Academic, 2020

Book

2

... the analysis throughout this book, the approach applied here also allows for a more reflective style of critique that considers how the ICA’s video interviews fall within the field of visual methodologies. Sarah Pink (2012: 3) notes...