1968 And Global Cinema

Examines the political cinema of 1968 in relation to global events.

Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.

Provides new insights into German-language cinema around 1968 and its relationship to the period's epoch-making cultural and political happenings.

An evocative and unique exploration of the most important era in international filmmaking In film history, the sixties are commonly known as the golden age of international cinema. The period from 1958 to 1969 saw a brilliant explosion of talent not just in Europe but throughout the world. From Sweden and Poland to India and Japan, from Brazil and Hungary to Spain and Czechoslovakia, young filmmakers seemingly sprang out of nowhere, challenging the stale conservativism of fifties cinema. With films like Jules et Jim, 8 1/2, and Breathless, to name but a few, they flouted taboos both sexual and political while bringing sharper, fresher, franker, more violent, and more personal visions to the screen than ever before. In Revolution!, Peter Cowie discusses the themes, trends, and creative filmmakers of the period--including Antonioni, Bergman, Cassavetes, Fellini, Godard, Kurosawa, and Truffaut--while focusing on those whose voices still evoke the struggles and achievements of the sixties and set the creative and intellectual standard by which today's finest films are still held.

Since the 1927 release of Fritz Lang’s pioneer film Metropolis, science fiction cinema has largely been regarded a Western genre. In Simultaneous Worlds, Jennifer L. Feeley and Sarah Ann Wells showcase authors who challenge this notion by focusing on cinemas and cultures, from Cuba to North Korea, not traditionally associated with science fiction. This collection introduces films about a metal-eating monster who helps peasants overthrow an exploitative court, an inflatable sex doll who comes to life, a desert planet where matchsticks are more valuable than money, and more. Simultaneous Worlds is the first volume to bring a transnational, interdisciplinary lens to science fiction cinema. Encountering some of the best emerging and established voices in the field, readers will become immersed in discussions of well-known works such as the Ghost in the Shell franchise and Neill Blomkamp’s District 9 alongside lesser-known but equally fascinating works by African, Asian, European, and South American filmmakers. Divided into five parts that cover theoretical concerns such as new media economies, translation, the Global South, cyborgs, and socialist and postsocialist cinema, these essays trace cinema’s role in imagining global communities and power struggles. Considering both individual films and the broader networks of production, distribution, and exhibition, Simultaneous Worlds illustrates how film industries across the globe take part in visualizing the perils of globalization and technological modernity. Ultimately, this book opens new ways of thinking about world cinema and our understanding of the world at large.

This book brings together the literature of urban sociology and film studies to explore new analytical and theoretical approaches to the relationship between cinema and the city, and to show how these impact on the realities of life in urban societies.

World Cinema through Global Genres introduces the complex forces of global filmmaking using the popular concept of film genre. The cluster-based organization allows students to acquire a clear understanding of core issues that apply to all films around the world. Innovative pedagogical approach that uses genres to teach the more unfamiliar subject of world cinema A cluster-based organization provides a solid framework for students to acquire a sharper understanding of core issues that apply to all films around the world A “deep focus” section in each chapter gives students information and insights about important regions of filmmaking (India, China, Japan, and Latin America) that tend to be underrepresented in world cinema classes Case studies allow students to focus on important and accessible individual films that exemplify significant traditions and trends A strong foundation chapter reviews key concepts and vocabulary for understanding film as an art form, a technology, a business, an index of culture, a social barometer, and a political force. The engaging style and organization of the book make it a compelling text for both world cinema and film genre courses

In the 1960s, film-makers including Godard, Truffaut, Pasolini and Bertolucci, Oshima and Forman, and Polanski and Cassavetes emerged to challenge the conformity and taboos of the 50s. This title recaptures the cultural mood of the period through interviews with key talents of the time.