In Hollywood Aesthetic: Pleasure in American Cinema, film studies professor Todd Berliner explains how Hollywood delivers aesthetic pleasure to mass audiences. Along the way, Professor Berliner offers numerous aesthetic analyses of scenes, clips, and images from both routine Hollywood movies and exceptional ones. His analyses, one of which we excerpt here, illustrate how to study […]
Shadows is the first film John Cassavetes directed and, regarding the version he released in 1959, it is the only film he created that distinctly explores themes of Blackness and Black identity in an American urban landscape. Too Late Blues, A Woman Under the Influence, The Killing of a Chinese Bookie, and Love Streams all depict identity and race in different and attention-worthy ways as well, but none of Cassavetes’ directorial work after 1959 engages with these topics to the same degree or with the same immediacy.
The Russian Front, 1944. A group of German soldiers happen upon a corpse encased in snow, apparent only by a frostbitten hand reaching towards them from the ground. “Looks like spring is coming,” one of the soldiers remarks.
This January, Lemony Snicket’s first four critically acclaimed novels of the A Series of Unfortunate Events were adapted as a Netflix original series, starring Neil Patrick Harris. Although famously known as a book series built upon three children’s misery and misfortune, the stories do contain one consistent factor on which the kids can always rely: the library.
In Hollywood Aesthetic: Pleasure in American Cinema, film studies professor Todd Berliner explains how Hollywood delivers aesthetic pleasure to mass audiences. The following quiz is based on information found in chapter 12, “Complexity and Experimentation in the Western.”
On a recent trip to Hong Kong, however, I decided to take a risk by departing from my standard viewing practice to watch Oliver Stone’s Snowden, a political thriller about the whistleblower who pulled back the curtain of the surveillance state by exposing how the NSA threatens the privacy of just about everyone. Would this movie set me on edge, making me fearful and paranoid for the remainder of the flight?
Alfred Hitchcock’s films foreground a conflict that I call “the feminine versus the queer.” The heterosexual heroine, fighting for love and often for her own survival, finds a surprising rival in a queer character, who simultaneously understands and thwarts her.
This March, the Oxford University Press cinema and media studies editorial and marketing team will see you in chilly Chicago for the SCMS annual conference. We’ve listed our favorite sessions below. And, don’t forget to test your film expertise with our film quotes quiz.
Today we celebrate what would have been American composer Samuel Barber’s 107th birthday. Upon the composer’s death in 1981, New York Times music critic Donal Henahan, penned an obituary that asserted “probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim.”
American screenwriter, author, and director of over 20 films, Sam Fuller influenced the work of filmmakers the likes of Jim Jarmusch, Quentin Tarantino, and Luc Moullet.
Hitchcock’s famous Psycho (1960) has an enduring legacy in the slasher-horror genre. Its impact on this genre is an enduring one, as suggested by the A&E series Bates Motel, culminating with Rihanna cast in Janet Leigh’s indelible role (Figure 1). Perhaps its most striking contribution, however, is its thematization of a figure I call the death-mother.
In 2017, the winners of two of the four Oscars given to actors were African Americans. This represents a remarkable turn in the history of the Oscars. It is not, however, a historical accident. Instead, it is due to social media campaigns and activism. In 2015, an activist named April Reign started the hashtag #OscarsSoWhite in response to the overwhelmingly white Oscar nominees that year.
For a long time, people in other countries had to watch American war films. Now they are making their own. In recent years, Russia and Germany have produced dueling filmic visions of their great contest on World War II’s Eastern Front. Paid for with about $30 million in state money, Stalingrad, directed by Feder Bondarchuk grossed around $50 million within weeks of hitting Russian screens in October, 2013.
Some decades ago, British film scholar Laura Mulvey showed us that movies possessed a male gaze. That is, the viewer was assumed to be a man — a straight, white one — and films were created by men to entertain men like them.We’ve made some progress. Among this year’s Academy Award nominees are eighteen African Americans, five Asian Americans, and one native-born Hispanic American.
Say what you will about the strong fan base of La La Land and its probable domination of the upcoming Oscars after sweeping so many of the guild awards, not to mention the critical backlash against it that I have seen in the press and among scholars on Facebook, but Damien Chazelle certainly knows the history of the Hollywood film musical!
On 20 February 2017, Sidney Poitier—“Sir Sidney” both in the colloquial and in reality (he was knighted in 1974), and just “Sir” in one of his biggest hits, To Sir, With Love (1967)—will turn ninety years old. Even today, Poitier continues a decades long career of collecting accolades for his pioneering role as Hollywood’s first Black movie star.