Magill S Cinema Annual 2009 A Survey Of Films Of 2008

Magills Cinema Annual offers an in-depth retrospective of significant domestic and foreign films released in the U.S. Distinguishing features include its extensive credits, awards and nominations, MPAA ratings, eight indexes, and most importantly its exhaustive critical reviews with author bylines.

Offers an in-depth retrospective of significant domestic and foreign films released in the United States during the preceding year. Distinguishing features include its extensive credits, awards and nominations, MPAA ratings, thorough indexes, and its exhaustive critical reviews with author bylines.

Offers an in-depth retrospective of significant domestic and foreign films released in the United States during the preceding year. Distinguishing features include its extensive credits, awards and nominations, MPAA ratings, thorough indexes, and its exhaustive critical reviews with author bylines.

Magill's Cinema Annual offers an in-depth retrospective of significant domestic and foreign films released in the U.S. Distinguishing features include its extensive credits, awards and nominations, MPAA ratings, eight indexes, and most importantly its exhaustive critical reviews with author bylines.

In Transnational Korean Cinema author Dal Yong Jin explores the interactions of local and global politics, economics, and culture to contextualize the development of Korean cinema and its current place in an era of neoliberal globalization and convergent digital technologies. The book emphasizes the economic and industrial aspects of the story, looking at questions on the interaction of politics and economics, including censorship and public funding, and provides a better view of the big picture by laying bare the relationship between film industries, the global market, and government. Jin also sheds light on the operations and globalization strategies of Korean film industries alongside changing cultural policies in tandem with Hollywood’s continuing influences in order to comprehend the power relations within cultural politics, nationally and globally. This is the first book to offer a full overview of the nascent development of Korean cinema.

Ingrid Bergman’s engaging screen performance as Sister Mary Benedict in The Bells of St. Mary’s made the film nun a star and her character a shining standard of comparison. She represented the religious life as the happy and rewarding choice of a modern woman who had a “complete understanding” of both erotic and spiritual desire. How did this vibrant and mature nun figure come to be viewed as girlish and naïve? Why have she and her cinematic sisters in postwar popular film so often been stereotyped or selectively analyzed, so seldom been seen as women and religious? In Veiled Desires—a unique full-length, in-depth look at nuns in film—Maureen Sabine explores these questions in a groundbreaking interdisciplinary study covering more than sixty years of cinema. She looks at an impressive breadth of films in which the nun features as an ardent lead character, including The Bells of St. Mary’s (1945), Black Narcissus (1947), Heaven Knows, Mr. Allison (1957), Sea Wife (1957), The Nun’s Story (1959), The Sound of Music (1965), Change of Habit (1969), In This House of Brede (1975), Agnes of God (1985), Dead Man Walking (1995), and Doubt (2008). Veiled Desires considers how the beautiful and charismatic stars who play chaste nuns, from Ingrid Bergman and Audrey Hepburn to Susan Sarandon and Meryl Streep, call attention to desires that the veil concealed and the habit was thought to stifle. In a theologically and psychoanalytically informed argument, Sabine responds to the critics who have pigeonholed the film nun as the obedient daughter and religious handmaiden of a patriarchal church, and the respectful audience who revered her as an icon of spiritual perfection. Sabine provides a framework for a more complex and holistic picture of nuns onscreen by showing how the films dramatize these women’s Christian call to serve, sacrifice, and dedicate themselves to God, and their erotic desire for intimacy, agency, achievement, and fulfillment.