"This is a historical and cultural survey of Indian cinema written by a social scientist and a film historian. The reader is provided with the social, political, religious and cultural context of India over nine decades [...] it is low on theory and high on description." (European Journal of Communi
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cation 14(2) June 1999 on the 1st ed.)
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"Originally published in 1985, Liberated Cinema: The Yugoslav Experience received the first annual "Close-up" award from the Yugoslav Film Institute in 1986 for "outstanding scholarship and for promoting the values of Yugoslav film art internationally." This new edition has been revised and updated
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throughout. It has been expanded to complete the story of the new Yugoslav cinema of the 1980s and to address major film developments that have taken place in the former Yugoslavia's five successor states. As in his analysis of past periods of Yugoslav cinema, Goulding situates the most recent developments within the context of film economics, state subsidies, and changing patterns of political control. Most significantly, however, he provides an insightful discussion of the ways in which critically important domestic feature films produced or co-produced from 1991 to 2001 reflect on recent brutal internecine warfare and other contemporary social, cultural, and political realities after the breakup of Yugoslavia." (Publisher description)
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"Most of the facts in this book are gleaned from available sources, representing the most reliable ones we could find for each of India’s cinemas (the sources are listed below). Many of these are what we earlier called, somewhat dismissively, ‘official’. Given the nature of the Indian film ind
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ustry, however, there were compelling reasons for drawing on this material alongside other, not always less ‘reliable’ sources. The editors of this book, quite deliberately and as a matter of policy, have refused to accept any single ‘authoritative’ source on any of India’s cinemas. On the contrary, we have endeavoured to produce a book providing the ‘most likely’ truth on the basis of often deeply conflicting sources. In this respect, what we offer here is not an authoritative source either (although these things are relative: we believe ours to be more authoritative than others simply because we were able to stand on the shoulders, so to speak, of the scholars who went before, even though none ever ventured to encompass as wide a field as we do in this project). Although this book will inevitably bear the scars inflicted by the unreliability of the sources used, we should like to believe that in consistently mapping India’s film histories on to a national canvas, we also present several new discoveries, such as the sheer contiguity of historical processes nationwide that most Indian regions persist in viewing as unique, the influences of film-makers from one region onto another, or even the trajectories of individual careers that transgressed boundaries sometimes decades before these boundaries came to be asserted." (Introduction, page 11)
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"The Encyclopedia of Chinese Film, one of the first ever encyclopedias in this area, provides alphabetically organized entries on directors, genres, themes, and actors and actresses from mainland China, Hong Kong and Taiwan as well as 300 film synopses. Great care has been taken to provide solid cul
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tural and historical context to the facts. The alphabetical entries are preceded by a substantial historical section, incorporating material on the the main studios and analysing the impact of Chinese film abroad as well as at home in recent years." (Publisher description)
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"Ce guide répertorie quelque 1200 films et 800 réalisateurs dans leur contexte régional, culturel et sociopolitique et les "usines à reves" de Bombay, Madras, Calcutta, Hayderabad, Bangalore, Trivandrum, de l'Orisaa ou de l'Assam himalayen. Une importante bibliographie et des index de réalisate
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urs et de films complètent ce premier ouvrage "pan-indien", destiné à etre traduit en Inde." (Le monde diplomatique 2/99)
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"Beschreibt und analysiert das chinesische Kino im späten Kaiserreich und in der Republik (1896-1949), die Filmproduktion der Volksrepublik China unter Mao Zedong (1942-1978), das chinesische Kino zur Zeit Deng Xiaopings (1978-1996), das Avantgardekino der 80er und 90er Jahre sowie das chinesische
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Kino in Taiwan und Hongkong. Der Anhang enthält eine Filmographie bedeutender und repräsentativer Spielfilme und ein Literaturverzeichnis." (commbox)
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"Focusing on a variety of filmmaker's use of narrative allegories for the “conservative modernization” Brazil and other nations underwent in the 1960s and 1970s, Ismail Xavier examines the way Cinema Novo transformed Brazil's cultural memory. Includes discussions of Black God, White Devil, Land
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in Anguish, Red Light Bandit, Macunaíma, Antônio das Mortes, The Angel Is Born, and Killed the Family and Went to the Movies." (Publisher description)
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"Auf dem brasilianischen Fernsehmarkt halten die großen privaten Sender ihre 100 Millionen Zuschauer alltäglich überwiegend mit Eigenproduktionen bei Laune. In dieser zum eist eher quantitativ als qualitativ imponierenden Bilderproduktion führt der brasilianische Kinofilm ein Nischendasein, das
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mittlerweile weder vom einheimischen Publikum noch von der internationalen Kritik nennenswert wahrgenommen wird. Auf den ersten Blick und vor allem aus einer europäischen Perspektive ist das um so erstaunlicher, als der brasilianische Film in seiner großen Aufbruchphase des Cinema Novo in den 60er Jahren international preisverwöhnt und Gegenstand euphorischer Besprechungen in den Feuilletons war." (Seite 576)
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