NEW BOOKS 2009 · 2010-04-16 · Dream (2000), Amelie (2001), Moulin Rouge (2001), City of God...


Transcript of NEW BOOKS 2009 · 2010-04-16 · Dream (2000), Amelie (2001), Moulin Rouge (2001), City of God...

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Wallflower Presscinema and THe mOVinG imaGe


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Welcome to the new Wallflower Press catalogue, highlighting all of our forthcoming titles for 2009, as well as select recent publications. This year sees a further 22 new titles, taking our entire list to almost 200 volumes produced since September 2000! Full details on all publications are available to view online at

Firstly, we are proud to announce that after last year’s successful resurrection of the International Film Guide, a landmark publication in contemporary cinema, we have now developed a dedicated website that complements the material published in the print volume; you are very welcome to visit for more goodies.

In terms of new books, we extend our coverage of diverse subjects across the full spectrum of film studies with detailed studies of neo-noir and its increasingly international manifestations, the newly-invigorated James Bond franchise and its locus in a post-9/11 world, the dynamic formal experiments represented by contemporary post-classical cinema, fantasy film and its gendered performances, and the varied theologically-informed representations of the Virgin Mary in the history of cinema.

In addition, you will find new Nonfictions titles on the growing phenomenon of the first-person film and a study of musical performance in documentary filmmaking; two more Directors’ Cuts titles, on David Cronenberg and Sally Potter; the next wave of Cultographies (Bring Me the Head of Alfredo Garcia, Blade Runner and The Evil Dead); a new title in the 24 Frames series, on the cinema of China and South East Asia; six more Short Cuts volumes (Film Narrative, Bollywood, Fantasy Cinema, Film Violence, Film Authorship and New Korean Cinema); and a new volume in the Dekalog series that focuses on East Asian filmmakers.

We are also very proud to be taking over the publication of the prestigious Hitchcock Annual from this year’s 16th volume.

Lastly, we are delighted to add the National Library of Sweden and Film Studies St Andrews to our growing list of client publishers for whom we undertake international distribution; please see pages 21 and 22.

We very much hope that you will continue to find things of interest and enjoyment...

Yoram Allon, commissioning editor

THE CINEMA OF CHINA AND SOUTH EAST ASIAedited by Ian Haydn Smith24 frames series

(see page 17)

THE CINEMA OF MICHAEL HANEKEEurope Utopia edited by Ben McCann and David SorfaDireCTOrs’ CUTs series

(see page 14)

THE PERSONAL CAMERASubjective Cinema and the Essay FilmLaura RascorolinOnfiCTiOns series

(see page 8)

NEO-NOIRedited by Mark Bould, Kathrina Glitre and Greg Tuck(see page 4)

‘The IFG remains invaluable as a guide to world cinema and to those of us who travel frequently.’ – Francis Ford Coppola

‘The day I was hired as a film critic, I went to the bookstore and came home with a copy of the IFG, and the current edition has been on my shelf ever since. This annual volume is unique and invaluable.’– Roger Ebert, film critic for the Chicago Sun-Times and presenter of Ebert & Roeper at the Movies

‘Anyone working in the film industry, media libraries, or researching film and willing to challenge their understanding of cinema beyond Britain, Hollywood and France needs this book.’– Multimedia Information and Technology

‘Some 14,000 students now do A-level Film Studies and move on to under-graduate courses every year, and the IFG is a key publication for all study of international cinema.’– Patrick Phillips, Senior Examiner for A-level Film Studies at Middlesex University

‘The IFG is like a set of tidal tables for the arthouse film world, examining new names and trends in filmmaking over the past 12 months. It taps an excellent pool of international journalists.’– James Christopher, The Times

First published in 1963, the International Film Guide enjoys an unrivalled reputation as the most authoritative and trusted source of information on contemporary world cinema. Comprehensive international coverage is offered via a ‘World Survey’ section encompassing the output of over 130 countries. The 2009 edition also includes focus on five ‘Directors of the Year’ – Nuri Bilge Ceylan, Miyazaki Hayao, John Sayles, Paolo Sorrentino, Agnès Varda; a Country Focus on Israel; an Industry Focus on digital platforms; a Special Focus on the May 1, 2004 expansion of the European Union covering the development of cinema in the ten new member countries – Cyprus, Czech Republic, Estonia, Hungary, Latvia, Lithuania, Malta, Poland, Slovakia and Slovenia; and a Home Entertainment section that reviews the most important developments in new DVD distribution. The volume also includes detailed breakdowns of international box-office statistics and film festival award-winners, and other relevant news pertaining to the international film festival circuit. Written by expert local correspondents who present critical reviews assessing features, documentaries and shorts, as well as industry trends and developments, this landmark publication continues the tradition of providing unique coverage of national cinema output from all over the world.

Ian Haydn Smith is a London-based film writer and critic. He is the co-author of New Chinese Cinema: Challenging Representations (2002), editor of The Cinema of China and South-East Asia (2009) and co-editor of Wallflower Press’s 24 Frames series on national and regional cinema.

INTERNATIONAL FILM GUIDE 2009The Definitive Annual Review of World Cinemaedited by Ian Haydn Smith

pbk £19.99 / $29.95978-1-905674-99-2472 pagesFebruary 2009


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NEO-NOIRedited by Mark Bould, Kathrina Glitre and Greg Tuck foreword by Mike Hodges

Neo-noir knows its past. It knows the rules of the game – and how to break them. From Point Blank (1998) to Oldboy (2003), from Get Carter (2000) to 36 Quai des Orfèvres (2004), from Catherine Tramell to Max Payne, neo-noir is a transnational global phenomenon. This wide-ranging collection maps out the terrain, combining genre, stylistic and textual analysis with Marxist, feminist, psychoanalytic and industrial approaches. Essays discuss works from the US, UK, France, Japan, South Korea, Hong Kong and New Zealand; key figures, such as David Lynch, the Coen Brothers, Quentin Tarantino and Sharon Stone; major conventions, such as the femme fatale, paranoia, anxiety, the city and the threat to the self; and the particular uses of sound and colour.

Mark Bould is editor of the journal Science Fiction Film and Television and author of Film Noir: From Berlin to Sin City (2005) and The Cinema of John Sayles: Lone Star (2008). Kathrina Glitre is author of Hollywood Romantic Comedy: States of the Union, 1934–65 (2006). Greg Tuck is editor of Film-Philosophy and Philosophy, Cinema and Sex (2009).

All three teach Film Studies at the University of the West of England, Bristol.

pbk £16.99 / $25.00978-1-906660-17-8hbk £45.00 / $80.00978-1-906660-18-5 272 pagesJune 2009


POST-CLASSICAL CINEMAAn International Poetics of Film NarrationEleftheria Thanouli

REVISIONING 007James Bond and Casino Royaleedited by Christoph Lindner

Revisioning 007 is a lively collection of new essays on the reinvention of James Bond in the 2006 film Casino Royale, starring Daniel Craig in his first appearance as Agent 007. Treating Casino Royale as a case study in popular film culture and as a significant turning point in the 007 series, the book offers innovative readings of the film and its interrelations with the Bond franchise, the culture industry and recent developments in cinema, society and world politics. Essay topics range from the analysis of 007’s masochism, voyeurism and hyper-mobility, to the examination of the film’s testicular torture scene, the links between international politics and high-stakes gambling and the changing role of the secret agent in a post-9/11 world order.

Christoph Lindner is Professor and Chair of English Literature at the University of Amsterdam. He is the author of Fictions of Commodity Culture (2003) and editor of The James Bond Phenomenon (2003) and Urban Space and Cityscapes (2006).

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Does the term ‘post-classical’ have any relevance in current debates on contemporary cinema? This book offers a positive answer with the help of historical poetics and a number of contemporary popular films from across the globe. Chungking Express (1994), Trainspotting (1996), Run Lola Run (1998), Fight Club (1999), Magnolia (1999), Requiem for a Dream (2000), Amelie (2001), Moulin Rouge (2001), City of God (2002) and Oldboy (2003) are some of the examples analysed here in depth in order to map the formal principles of post-classical cinema. With a strong foothold in the United States, Europe, Asia and Latin America the post-classical mode of narration offers contemporary filmmakers a fresh set of creative options for staging, framing and editing their stories. With meticulous emphasis on formal distinctions this volume differentiates the post-classical paradigm from the powerful classical Hollywood tradition and opens up the territory for new formal frameworks and concepts. Eleftheria Thanouli is Assistant Professor in Film Theory at Aristotle University of Thessaloniki, Greece. Her articles on issues of film narration and world cinema have appeared in New Review of Film and Television Studies, New Cinema and Scope.


THE REALMS OF FANTASYSpectacle, Gender and Fairy-Tale FilmAlison Tedman

Fairy-tale is an increasingly important part of modern cinema, but has been given little consideration with film studies. This significant book brings together critical approaches from fairy-tale studies, film studies and feminist studies, including philosophical and psychoanalytic methodologies. It offers ways of analysing fairy-tale strategies and enunciation, explores the role of fantasy in the spectatorship of fairy-tale cinema, and considers its potential for offering a feminine voice. Key areas include unconscious and cultural fantasy in films of childhood or adolescence, the active heroine, glittering female masquerade, and the complex possibilities for desire offered by fairy-tale film. Films discussed include A Midsummer Night’s Dream (1935), The Night of the Hunter (1955), The Company of Wolves (1984), Pan’s Labyrinth (2006), Stardust (2007) and Enchanted (2007).

Alison Tedman is Senior Lecturer in Film at Buckinghamshire New University, where she has written and taught on numerous modules on fantasy cinema and women and cinema.

pbk £16.99 / $25.00978-1-905674-97-8hbk £45.00 / $80.00978-1-905674-98-5 224 pagesAugust 2009


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THE CELLULOID MADONNAFrom Scripture to Screen Catherine O’Brien

The Celluloid Madonna is the first book to present an in-depth analysis of the life of the Virgin Mary on screen, from the silent era through to the twenty-first century. The story of a Jewish woman from Nazareth has caught the imagination of filmmakers from a range of backgrounds – Catholics, Protestants, Muslims, Marxists and atheists. When theology intersects with secular culture, film directors are at liberty to follow their creative inclinations. Consequently, the figure of the Madonna has inspired many of the most singular – and some of the most controversial – images in cinema. Exploring the difficulties of transforming Scripture into a screenplay, this volume focuses on filmic visions of the world’s most significant female religious icon. Films discussed include Cecil B. DeMille’s The King of Kings (1927), Pier Paolo Pasolini’s The Gospel according to St Matthew (1964), Franco Zeffirelli’s Jesus of Nazareth (1977), Jean Delannoy’s Mary of Nazareth (1977), Jean-Luc Godard’s Hail Mary (1985), Mel Gibson’s The Passion of the Christ (2004), Catherine Hardwicke’s The Nativity Story (2006) and Mark Dornford-May’s Son of Man (2006).

Catherine O’Brien is Senior Lecturer in Film Studies and French at Kingston University (UK). She has published widely on intersections between Marian theology and secular culture.

pbk £16.99 / $25.00978-1-906660-27-7hbk £45.00 / $80.00978-1-906660-28-4 224 pagesAugust 2009




Does the digital era spell the death of cinema as we know it, or its rebirth? Or the emergence of something else entirely? Cinema in the Digital Age examines the fate of cinema in this new era, paying special attention not only to the technologies that are reshaping film, but to the cultural meaning of those technologies. Examining Festen (1998), The Blair Witch Project (1999), Timecode (2000), Russian Ark (2002), The Ring (2002) and others, this volume explores how such films are haunted by their own analogue pasts, and suggests that their signature element is not digital perfection but rather deliberate imperfections that remind viewers that human beings made these films.

CINEPHILIA IN THE AGE OF DIGITAL REVOLUTIONFilm, Pleasure and Digital Culture, vol. 1edited by Scott Balcerzak and Jason Sperb

Long a part of the theatrical experience, ‘cinephilia’ denotes a deep, even limitless passion for the medium. But what happens when the experience of the movies becomes something different – something increasingly complemented by digital means? This volume of new essays explores the pleasures of cinema within online communication, digital imagery and digitised home viewing. Including the work of critics, scholars and bloggers from the US, the UK and Australia, Cinephilia in the Age of Digital Reproduction provides an innovative and multifaceted approach to the ever-evolving world of cinema culture.

WIDESCREENWatching. Real. People. ElsewhereMark Cousins

Cinema has undergone huge changes in the last decade: Asian filmmaking has been making the running; the ne’er do well genre, documentary, has broken through; digitisation and DVD have revived film history and are revolutionising projection; world cinema has shifted in the direction of the real and the visually grainy; and animation has become more dominant than at any time since Disney. Month by month, in the acclaimed journal Prospect, critic and filmmaker Mark Cousins has charted and contextualised these changes. Widescreen: Watching. Real. People. Elsewhere is the result; a sceptical, passionate, eye-witness account of film today, argued originally and written with panache.

SCENES OF LOVE AND MURDERRenoir, Film and PhilosophyColin Davis

Jean Renoir (1894–1979) has long been considered to be one of the greatest directors in the history of cinema. Films such as La Grande Illusion (1937) and La Règle du jeu (1939) rank amongst the masterpieces of film art. This book examines his films from the 1930s in the light of recent developments in philosophical film criticism. With reference to thinkers such as Aristotle, Wittgenstein, Girard, Derrida and Cavell, it argues that Renoir’s work engages with and elucidates some of the great philosophical questions. In particular the films are shown to reflect on the nature of murder and its links with desire, community, ethics and the mystery of other minds.

SCREENWRITINGHistory, Theory and PracticeSteven Maras

Working across contemporary histories of film and screenwriting, and US screenwriting manuals from the 1910s and 1920s, this volume breaks new ground in thinking about the nature of scripting, and how screenwriting took shape as a particular kind of practice, examining key topics such as the notion of the script as blueprint, the emergence of the screenplay, and the politics of writing for the screen. Bringing an accessible academic approach to practitioner-orientated discussions of craft, the book provides a new perspective on debates to do with auteurism, funding processes, digital technology and the future of scripting.

PERFORMING ILLUSIONSCinema, Special Effects and the Virtual ActorDan North

The camera supposedly never lies, yet film’s ability to frame, cut and reconstruct all that passed before its lens made cinema the pre-eminent medium of visual illusion and revelation from the early twentieth century onwards. This volume examines film’s creative history of special effects and trickery, encompassing everything from George Méliès’ first trick films to the modern CGI era. With analyses of films such as Destination Moon (1950), Spider-Man (2002) and the King Kong films (1933 and 2006), this new volume provides an insight into cinema’s infinite capacity to perform illusions.

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THE PERSONAL CAMERASubjective Cinema and the Essay FilmLaura Rascaroli

PLAYING TO THE CAMERAMusicians and Musical Performance in Documentary CinemaThomas F. Cohen


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Playing to the Camera is the first full-length study devoted to the musical performance documentary. Its scope ranges from music education films to punk rock concert films to experimental video art featuring modernist music. Unlike the ‘music under’ produced for movies by anonymous musicians sequestered in recording studios, on-screen ‘live’ performances remind us of the relation between music and the bodies that produce it. Leaving aside analysis of the film score to explore the link between moving images and musical movement as physical gesture, this volume asks why performance has so often been derided as a mere skill whereas composition is afforded the status of art, a question that opens onto a broader critique of attitudes regarding mental and physical labour in Western culture. Films analysed include Listen to Britain (1942), What’s Happening! (1964), Gimme Shelter (1970), Sex Pistols: Live at the Longhorn (1978), From Mao to Mozart (1980), Speaking in Strings (1999), Glenn Gould – The Alchemist (2003) and Metallica: Some Kind of Monster (2004).

Thomas F. Cohen teaches in the Communication Department at the State University of New York, Plattsburgh. He has published widely on broadcasting and film, documentary cinema and audio technologies.

The Personal Camera is an exploration of an elusive but increasingly compelling field: essayistic cinema. The essay film, together with its cognate forms – the diary, the travelogue, the notebook and the self-portrait – is cinema in the first person. It is a cinema of thought, of investigation and self-reflection, in which the filmmaker addresses and engages with the spectator within a shared space of embodied subjectivity. Authorial, experimental and radical, essayistic cinema belongs within the lineage of avant-garde and political filmmaking and responds above all to the need we feel today for more contingent, autobiographical, private forms of expression. This study provides a unique insight into an intricate but fascinating field, by engaging with the work of directors such as Jean-Luc Godard, Chris Marker, Harun Farocki, Pier Paolo Pasolini, Alexander Sokurov, Michelangelo Antonioni, Derek Jarman, Federico Fellini, Wim Wenders, Jonas Mekas and Agnès Varda.

Laura Rascaroli is Senior Lecturer in Film Studies at University College Cork, Ireland. She is co-author of From Moscow to Madrid: Postmodern Cities, European Cinema (2003), The Cinema of Nanni Moretti: Dreams and Diaries (2004) and Crossing New Europe: Postmodern Travel and the European Road Movie (2006).

NONFICTIONS a new list of critical studies of documentary film and television

DOCUMENTARY DISPLAYRe-Viewing Nonfiction Film and VideoKeith Beattie

Not all documentary films and videos are sober depictions of the real world. Documentary representations can present expressive, entertaining and spectacular images. This book examines such innovative approaches via the process of ‘documentary display’. This accessible study thus makes an important contribution to theoretical analyses of documentary film and video.

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THE IMAGE AND THE WITNESSTrauma, Memory and Visual Cultureedited by Frances Guerin and Roger Hallas

This wide-ranging interdisciplinary collection discusses the portrayal of trauma in contemporary media and explores the notion of the image as witness to historical events. Subjects under discussion include post-traumatic memory, documentary ethics and the iconic power of images. Films discussed include Hiroshima, mon amour (1959), Blue (1993) and Level 5 (1996).

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CHÁVEZ: THE REVOLUTION WILL NOT BE TELEVISEDA Case Study of Politics and the MediaRod Stoneman

This book outlines how a popular and prize-winning documentary fast became controversial and subject to extensive attack including a formal BBC enquiry. The book and DVD of the film illuminate contemporary politics in Latin America and raise key questions for documentary filmmaking and film studies.

£18.99 / $29.50

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DIRECT CINEMAObservational Documentary and the Politics of the SixtiesDave Saunders

Direct Cinema is the first comprehensive study of the seminal ‘direct cinema’ movement of 1960s America. Outlining the methods and achievements of pioneers such as Robert Drew, D.A. Pennebaker and Frederick Wiseman, this volume suggests that direct cinema was an integral part of the artistic and political revolutions of the 1960s.

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BUILDING BRIDGESThe Cinema of Jean Rouchedited by Joram ten Brinkpreface by Michael Renov

The first title to fully explore the legacy of French documentary-maker Jean Rouch, this volume discusses his massive contribution to ethnographic filmmaking with films such as Les Maîtres fous (1955) and Chronique d’un été (1961). This work is set to become a benchmark study of one of last century’s most influential documentary presences.

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PROJECTING MIGRATIONTranscultural Documentary Practiceedited by Alan Grossman and Áine O’Brienpreface by Hamid Naficy

Projecting Migration is a groundbreaking multimedia book/DVD-ROM project that attempts to understand the phenomena of mobility and displacement through essays, films, photography and audio recordings. This cross-media collection marks a major transdisciplinary contribution to contemporary debates on migration.

£29.95 / $40.00

pbk + DVD-ROM



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SHORT CUTS a full list of undergraduate introductions to film studies

FILM AUTHORSHIPAuteurs and Other MythsC. Paul Sellors

Few topics in the study of film produce con-troversy like authorship. Critics, historians and theoreticians have debated the most important film authors, argued vociferously about the nature of film authorship, and even questioned whether films have authors at all. Film Authorship evaluates these debates in a rigorous and accessible manner, and analy-ses the historical development and theoretical underpinnings of the concepts of film author-ship and the auteur. It then examines recent theories of film authorship and proposes a reconceptualisation of film authorship that grounds it firmly in empirical analyses of film production.

C. Paul Sellors is Lecturer in Photography and Film at Napier University, Edinburgh. His essays on film theory and philosophy have appeared in Screen, Film and Philosophy and The Journal of Aesthetics and Art Criticism.

FANTASY CINEMAImpossible Worlds on ScreenDavid Butler

Often dismissed as simple escapist tales of sword and sorcery or fairy stories from childhood, fantasy is one of the fundamental impulses in filmmaking, a source of some of the most vivid and memorable films ever made that reaches far beyond the confines of a single genre. As well as some of the major genres, stylistic approaches and exponents of cinematic fantasy (from Georges Méliès, Walt Disney and Andrei Tarkovsky to contemporary fantasists such as Terry Gilliam and Peter Jackson), this volume also focuses on fantasy’s social function and interpretations. Taking in the popular and experimental, subversive desires and reactionary dreams, this book is an engaging introduction to one of the vital energies in cinema.

David Butler is lecturer in Screen Studies at the University of Manchester. He is the author of Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction (2002) and editor of Time and Relative Dissertations in Space: Critical Perspectives on Doctor Who (2007).

FILM VIOLENCEHistory, Ideology, GenreJim Kendrick

A concise and accessible introduction to the role violence has played in the cinema from the silent era to the present, this volume illustrates the breadth and depth of screen bloodshed in historical, cultural and industrial contexts. After considering problems of definition, this study offers a systematic history of film violence and examines three of the most popular violent genres (western, horror and action). It concludes with a case study on the centrality of film violence to the directors of the New American Cinema, such as Francis Ford Coppola, Martin Scorsese and Steven Spielberg, which offers a strong example of how violence, history, ideology and genre are all deeply intertwined.

James Kendrick is Assistant Professor of Communication Studies at Baylor University. He is author of Hollywood Bloodshed: Violence in 1980s American Cinema (2009).

BOLLYWOODGods, Glamour and GossipKush Varia

‘Bollywood’ has become a household word in the West but most know little about the films and their culture beyond a certain celebration of kitsch. This volume provides a clear over-view of the industry from its beginnings in the colonial period to its worldwide impact today, whilst discovering its role in the Indian and global imagination. It explores the narrative and aesthetic drives of the films, the variety of genre, cultural connotations of characters, the star system and the hybrid and unexpected fan cultures which surround the industry. Examples of popular and widely available films are provided to illustrate the importance of the cinema’s conventions, ranging from the constant negotiation between tradition and modernity to examining the cliché that romance involves running around trees.

Kush Varia works as an archive production executive for BBC Motion Gallery. He has been a Visiting Lecturer at Roehampton Uni-versity and London Metropolitan University.

NEW KOREAN CINEMABreaking the WavesDarcy Paquet

New Korean Cinema charts the dramatic transformation of South Korea’s film industry from the democratisation movement of the late 1980s to the ascent of a new generation of directors in the 2000s. The volume consid-ers such issues as government censorship, the market’s opening to Hollywood films and the social changes which led to the diversifi-cation and surprising commercial strength of contemporary Korean films. Directors such as Hong Sang-soo, Kim Ki-duk, Park Chan-wook and Bong Joon-ho are studied within their his-torical context, together with a range of films including Sopyonje (1993), Peppermint Candy (1999), Oldboy (2003) and The Host (2006).

Darcy Paquet is the founder of and visiting professor in the Department of Film and Theatre at Kyunghee University. A former reporter for Screen International and Variety, he has been living in Seoul since 1997.

CONTEMPORARY BRITISH CINEMAFrom Heritage to HorrorJames Leggot

This volume offers a detailed and comprehensive analysis of British film culture from 1997 to the present. Using a wide range of films from the Blair era as case studies – from Love Actually (2003) and The Queen (2006), to Dirty Pretty Things (2002) and Hot Fuzz (2007) – it examines the ways in which recent British filmmaking might be regarded as distinctive, relevant and successful. Contemporary British Cinema studies the state of the film industry and the significance of particular genres (such as the romantic comedy, the heritage drama and the horror film), and looks at the role that British cinema has played in both the shaping and interrogation of British identity.

James Leggott is lecturer in Film and Television Studies at Northumbria University (UK).

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SHORT CUTS a full list of undergraduate introductions to film studies

FILM AND PHILOSOPHYTaking Movies SeriouslyDaniel Shaw

This introductory volume presents an overview of the philosophy of film, a burgeoning sub-discipline of Aesthetics. It offers a sampling of paradigmatic instances of philosophers and philosophical film theorists discussing the movies in a fashion that takes cinema as seriously as any other Fine Art, leaving little doubt that doing philosophy of film is a serious intellectual enterprise. Film and Philosophy features discussions on romance, horror and science fiction genres; cognitivism and existentialism; and race, class and gender issues in film.

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August 2008

GERMAN EXPRESSIONIST CINEMAThe World of Light and ShadowIan Roberts

Before Hollywood’s golden age, German expressionist film was arguably the most important cinematic movement in the medium’s history. Its vivid contrasts and dark spaces constitute a major influence on Hollywood classics. As well as outlining the movement’s origins in art and literature, this volume also offers insights into the technical and thematic developments of the Weimar film. Covering classics such as The Cabinet of Doctor Caligari (1920) and Nosferatu (1922) as well as under-appreciated examples such as Asphalt (1929).

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May 2008

RELIGION AND FILMCinema and the Re-Creation of the WorldS. Brent Plate

Religions and films both operate by recreating the known world and then presenting that alternative version to their viewers/worshippers. Religion and Film explores the connection between these two worlds, and demonstrates that by paying attention to the ways films are constructed we can shed light on the ways religions are constructed, and vice versa. This book brings together religious studies and film studies, asking how the world on film affects religious attitudes, and how millenia-old myths and rituals alter the ways films are made, viewed and interpreted.

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August 2008

CINEMA AND HISTORYThe Telling of StoriesMichael Chopra-Gant

This volume examines key historical issues raised by popular film, including what film might tell us about the past, the reliability of movies as sources of historical knowledge, and how film might compare to more ‘serious’ works of history. Combining historical methods with insights from linguistics and film studies, this study discusses the historical resonance of films such as Lawrence of Arabia (1962), Gangs of New York (2002) and United 93 (2006), and investigates the parameters and limitations of fiction film as a way to access history.

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May 2008

Covering the full spectrum of contemporary Film Studies, from genres and film movements to critical concepts and technologies, the Short Cuts series is now up to 49 volumes long, with many more on their way. Full details on all titles, including reviews and sample chapters, can be found at


FILM GENRE From Iconography to IdeologyBarry Keith Grantpbk £12.99 / $20.00 978-1-904764-79-3

SPECTATORSHIP The Power of Looking OnMichele Aaronpbk £12.99 / $20.00 978-1-905674-01-5

CRIME FILMS Investigating the SceneKirsten Moana Thompsonpbk £12.99 / $20.00 978-1-905674-13-8

ROMANTIC COMEDY Boy Meets Girl Meets GenreTamar Jeffers McDonaldpbk £12.99 / $20.00 978-1-905674-02-2

THE FRENCH NEW WAVE A New LookNaomi Greenepbk £12.99 / $20.00 978-1-905674-12-1

SHAKESPEARE ON FILM Such Things as Dreams Are Made OfCarolyn Jess-Cookepbk £12.99 / $20.00 978-1-905674-14-5

DISASTER MOVIES The Cinema of Catastrophe (2nd edn)Stephen Keanepbk £12.99 / $20.00 978-1-905674-03-9

THE NEW HOLLYWOOD From Bonnie and Clyde to Star WarsPeter Krämerpbk £12.99 / $20.00 978-1-904764-58-8

ITALIAN NEOREALISM Rebuilding the Cinematic CityMark Shielpbk £12.99 / $20.00 978-1-904764-48-9

WAR CINEMA Hollywood on the Front LineGuy Westwellpbk £12.99 / $20.00 978-1-904764-54-0

DOCUMENTARY The Margins of RealityPaul Wardpbk £12.99 / $20.00 978-1-904764-59-5

TEEN MOVIES American Youth on ScreenTimothy Sharypbk £12.99 / $20.00 978-1-904764-49-6

FILM NOIR From Berlin to Sin CityMark Bouldpbk £12.99 / $20.00 978-1-904764-50-2

THE MUSICAL Race, Gender and PerformanceSusan Smithpbk £12.99 / $20.00 978-1-904764-37-3

NEW DIGITAL CINEMA Reinventing the Moving ImageHolly Willispbk £12.99 / $20.00 978-1-904764-25-0

FILM PERFORMANCE From Achievement to AppreciationAndrew Klevanpbk £12.99 / $20.00 978-1-904764-24-3

FEMINIST FILM STUDIES Writing the Woman into CinemaJanet McCabepbk £12.99 / $20.00 978-1-904764-03-8

MELODRAMA Genre, Style, SensibilityJohn Mercer and Martin Shinglerpbk £12.99 / $20.00 978-1-904764-02-1

MUSIC IN FILM Soundtracks and SynergyPauline Reaypbk £12.99 / $20.00 978-1-903364-65-9

EARLY CINEMA From Factory Gate to Dream FactorySimon Popple and Joe Kemberpbk £12.99 / $20.00 978-1-903364-58-1

NEW GERMAN CINEMA Images of a GenerationJulia Knightpbk £12.99 / $20.00 978-1-903364-28-4

PRODUCTION DESIGN Architects of the ScreenJane Barnwellpbk £12.99 / $20.00 978-1-903364-55-0

AVANT-GARDE FILM Forms Themes and PassionsMichael O’Praypbk £12.99 / $20.00 978-1-903364-56-7

FILM EDITING The Art of the ExpressiveValerie Orpenpbk £12.99 / $20.00 978-1-903364-53-6

BRITISH SOCIAL REALISM From Documentary to Brit GritSamantha Laypbk £12.99 / $20.00 978-1-903364-41-3

WOMEN’S CINEMA The Contested ScreenAlison Butlerpbk £12.99 / $20.00 978-1-903364-27-7

ANIMATION Genre and AuthorshipPaul Wellspbk £12.99 / $20.00 978-1-903364-20-8

SCENARIO The Craft of ScreenwritingTudor Gatespbk £12.99 / $20.00 978-1-903364-26-0

NEW CHINESE CINEMA Challenging RepresentationsSheila Cornelius with Ian Haydn Smithpbk £12.99 / $20.00 978-1-903364-13-0

MISE-EN-SCÈNE Film Style and InterpretationJohn Gibbspbk £12.99 / $20.00 978-1-903364-06-2

COSTUME AND CINEMA Dress Codes in Popular FilmSarah Streetpbk £12.99 / $20.00 978-1-903364-18-5

PSYCHOANALYSIS AND CINEMA The Play of ShadowsVicky Lebeaupbk £12.99 / $20.00 978-1-903364-19-2

THE WESTERN GENRE From Lordsburg to Big WhiskeyJohn Saunderspbk £12.99 / $20.00 978-1-903364-12-3

READING HOLLYWOOD Spaces and Meanings in American FilmDeborah Thomaspbk £12.99 / $20.00 978-1-903364-01-7

EARLY SOVIET CINEMA Innovation, Ideology and PropagandaDavid Gillespiepbk £12.99 / $20.00 978-1-903364-04-8

SCIENCE FICTION CINEMA From Outerspace to CyberspaceGeoff King and Tanya Krzywinskapbk £12.99 / $20.00 978-1-903364-03-1

THE STAR SYSTEM Hollywood’s Production of Popular IdentitiesPaul McDonaldpbk £12.99 / $20.00 978-1-903364-02-4

THE HORROR GENRE From Beelzebub to Blair WitchPaul Wellspbk £12.99 / $20.00 978-1-903364-00-0

Forthcoming titles include Biopics, Silent Cinema, Cinematography, Film Theory, Action Movies, and more...

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DIRECTORS’ CUTS studies of contemporary cinema’s most significant filmmakers

THE CINEMA OF MICHAEL HANEKEEurope Utopiaedited by Ben McCann and David Sorfa

pbk £16.99 / $25.00978-1-906660-29-1 hbk £45.00 / $85.00978-1-906660-30-7 256 pagesSeptember 2009

Michael Haneke is one of the most important directors working in Europe today. Films such as Funny Games (1997), Code Unknown (2000) and Hidden (2005) interrogate the ethical dilemmas of our era with forensic clarity and merciless insight. Yet even amidst the barren nihilism of The Seventh Continent (1989) and Time of the Wolf (2003), a strain of optimism emerges with which Haneke allows us to consider the possibility of a future in which terrible and inescapable guilt might not necessarily be all-encompassing. It is this contingent and unlikely future that we find in his cinema: a vision of Europe Utopia. This edited collection celebrates, explicates and sometimes challenges the worldview that Haneke presents in his film world. It offers a comprehensive examination of the director’s central themes and preoccupations – bourgeois alienation, modes and critiques of spectatorship, the role of the media – and analyses hitherto marginalised aspects of his work, such as the functions of performance and stardom, his early Austrian TV productions, romanticism in The Piano Teacher (2001), and his shot-for-shot remake of Funny Games (2007).

Ben McCann is lecturer in French Studies at the University of Adelaide. David Sorfa is senior lecturer in Film Studies at Liverpool John Moores University and managing editor of the journal, Film-Philosophy.


THE CINEMA OF SALLY POTTERThe Politics of LoveSophie Mayer

Internationally renowned as a filmmaker, writer and composer, Sally Potter has always been a provocateur: as a feminist filmmaker and performer, a leading light of the BFI Production Board generation, a British filmmaker Oscar-nominated for a low-budget costume drama, and a pioneer of digital cinema. Drawing on exclusive access to archival materials and in-depth interviews with Britain’s most independent director, The Cinema of Sally Potter gives the first full account of this extraordinary career.

Potter’s award-winning films Thriller (1979), Orlando (1992), The Tango Lesson (1997), The Man Who Cried (2000) and Yes (2004), are valued by cinephiles and theorists alike for their evocative sensuality, incisive wit and explosive refusal of cinematic clichés. Potter’s most recent film Rage (2009) looks ahead to a new economy, both financial and visual, drawing deeply on Potter’s committed refashioning of cinematic looking and listening. Putting the unseen on screen, Potter’s films fill the viewer with wonder and desire, enacting the possibilities of cinema as love.

Sophie Mayer is Andrew Mellon Postdoctoral Fellow in Anglophone and Francophone Cinema at the University of Cambridge. She is the co-editor of Un/Making the Cut (2008).

pbk £16.99 / $25.00978-1-905674-67-1 hbk £45.00 / $85.00978-1-905674-68-8 224 pagesFebruary 2009


THE CINEMA OF WERNER HERZOGAesthetic Ecstasy and TruthBrad Prager

Werner Herzog is renowned for pushing the boundaries of conventional cinema – the lines between the fictional and the factual, the fantastic and the real – and this volume provides a detailed exploration of the director’s continuing search for what he has described as ‘ecstatic truth’. The study includes in-depth analysis of over 35 films from this prolific director.

THE CINEMA OF NEIL JORDANDark CarnivalCarole Zucker | preface by Stephen Rea

This volume discusses Jordan’s entire career, looking beyond ideological and national concerns to view his films through the prism of Celtic folklore, fairy tales, the gothic, romanticism and postmodernism. Incorporating discussion of Jordan’s literary work and benefiting from access to his personal archives, this book explore the mythic and poetic impulses that suffuse Jordan’s work.

THE CINEMA OF ANG LEEThe Other Side of the ScreenWhitney Crothers Dilley

This volume, the first full-length study of Lee’s work, analyses all of his career to date – including studies of his films concerning culture clashes and globalisation, period drama, martial arts, blockbusters and gay romance – unravelling favoured themes such as father/son relationships and the modern family. This timely study uncovers the enormous appeal of this acclaimed director.


This volume closely follows the director’s career with analysis of all his directed works. Through discussion of films such as Return of the Secaucus 7 (1980), Matewan (1987) and Sunshine State (2003), this study uncovers themes of racial and sexual otherness, capitalist excess and the erosion of community in his work. This timely volume will be of interest to all aficionados of independent film.

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THE CINEMA OF LARS VON TRIERAuthenticity and ArtificeCaroline Bainbridge

Since founding the back-to-basics Dogme philosophy of filmmaking in 1995, von Trier’s name has become a by-word for taboo-breaking cinema. He has courted controversy through films such as The Idiots (1998), Dancer in the Dark (2000) and Dogville (2003). Analysing these films and recent works from a psychoanalytic perspective, it forges a new understanding of the founder of Dogme 95.

THE CINEMA OF DAVID CRONENBERGFrom Baron of Blood to Cultural HeroErnest Mathijs

David Cronenberg has moved from the depths of low-budget exploitation horror to become one of North America’s most respected movie directors. Since the early 1970s, the softly-spoken Baron of Blood has attracted widespread controversies with a steady stream of shocks. This new study provides an overview of Cronenberg’s films in the light of their international reception.

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THE HITCHCOCK ANNUALVolume 16edited by Sidney Gottlieb and Richard Allen

pbk £16.99 / $26.00978-1-906660-21-5 192 pagesSeptember 2009

Hitchcock Annual Vol. 16 is the first edition of the Hitchcock Annual to be published in book format. It continues the Annual’s long-standing tradition of publishing cutting-edge essays on Hitchcock from a wide range of critical perspectives. These essays examine in detail individual films, Hitchcock’s broader idioms, and the nature of his influence upon filmmakers worldwide. They also reflect more broadly the variety, vivacity and far-ranging relevance and importance of Hitchcock Studies. Contributors to this volume include Malcolm Turvey, Michael Walker, David Sterritt and Richard Allen.

Sidney Gottlieb is Professor of Media Studies and Digital Culture at Sacred Heart University. He is the editor of Hitchcock on Hitchcock: Selected Writings and Interviews (1997) and Alfred Hitchcock: Interviews (2003), and co-editor of Framing Hitchcock (2002).

Richard Allen is Professor and Chair of Cinema Studies at New York University. He is the author of Hitchcock’s Romantic Irony (2007) and co-editor of Alfred Hitchcock: Centenary Essays (1999) and Hitchcock: Past and Future (2003).


THE HITCHCOCK ANNUAL ANTHOLOGYSelected Essays from Volumes 10–15edited by Sidney Gottlieb and Richard Allen

For over 15 years the Hitchcock Annual has published groundbreaking and authoritative scholarship on Hitchcock, and has become the journal of record for Hitchcock Studies. Wallflower Press is proud to announce the new incarnation of this prestigious publication. Initiating this new relationship is The Hitchcock Annual Anthology, featuring contributions from such leading critics as Charles Barr, Thomas Elsaesser, Mark Rappaport, Michael Walker, Robin Wood and Slavoj Žižek, and including essays on the full range of Hitchcock’s work, from the lesser-known silents to his late American masterpieces.

THE CINEMA OF INDIAedited by Lalitha Gopalanpreface by Javed Akhtar

The Cinema of India closely examines 24 landmark films from one of the world’s largest national cinemas. Assembling writings by renowned scholars of Indian cinema, each essay provides a novel framework to read each film, and when considered together a kaleidoscopic pattern emerges acknowledging the varied terrain of Indian film production and its reception both nationally and globally. Films discussed include Sant Tukaram (1936), Parasakthi (1952), Pather Panchali (1955), Pyaasa (1957), Bhuvan Shome (1969), Ghattashradda (1977) and Ram Ke Nam (1991).


Hitchcock and Twentieth-Century Cinema examines the influences, legacy and style of one of cinema’s most famous directors. Alfred Hitchcock worked in Britain and America, in silent and sound films, and through and beyond the studio system, all the time appealing to mass audiences while employing his own distinctive style. This volume contends that Hitchcock is a ‘matrix-figure’ in the history of cinema who greatly influenced film noir, the French New Wave and countless filmmakers all around the world and, indeed, continues to do so.

THE CINEMA OF GERMANYedited by Joseph Garncarzpreface by Birgit Grosskopf

This volume tells the story of the cinema of Germany in 24 essays, each concerning an individual film, in a fresh and concise way. It describes a national film industry which successfully met the demand of a domestic audience from the 1910s to the 1960s, followed by a post-World War Two decline of popular cinema during the 1960s and early 1970s. From the 1980s on, a new generation has tried to re-establish a popular German cinema with films such as The Boat (1981), Run Lola Run (1998) and Goodbye Lenin! (2003).

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24 FRAMES anthologies on national and regional cinema from across the globe


£18.99 pbk / $29.50978-1-906660-07-9£50.00 hbk / $90.00978-1-906660-08-6288 pagesNovember 2009

Over the last three decades Chinese and South East Asian film has played a major role at festivals around the world. The Chinese Fifth and Sixth Generations, Taiwanese New Wave and many other movements have not only highlighted the rise of new and exciting filmmakers, they have also drawn attention to a rich cinematic past. The Cinema of China and South East Asia examines the changing face of the region’s cinema over the last eighty years, through the prism of 24 fascinating films, including Tian Zhuangzhuang’s Horse Thief (1986), Tran Anh Hung’s The Scent of Green Papaya (1993), Wong Kar-wai’s In the Mood for Love (2000), Bing Wang’s West of the Tracks (2003), Jia Zhang-Ke’s The World (2004), Yasmin Ahmad’s Mukhsin (2006), Apichatpong Weerasethakul’s Syndromes and a Century (2006) and Ronny Yu’s Fearless (2006).

Ian Haydn Smith is a London-based film writer and critic. He is editor of the International Film Guide and co-editor of Wallflower Press’s 24 Frames series on national and regional cinema.


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DEKALOG 2On Manoel de Oliveiraguest edited by Carolin Overhoff Ferreira

This special issue of Dekalog is a way to pay tribute to an outstanding artist who has as much captivated as bewildered spectators during his 77-year-long career. A first British publication on the internationally renowned filmmaker, this issue in the Dekalog series aims to enhance studies and stimulate the interest in Oliveira’s work in the Anglo-Saxon world.

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DEKALOG 3On Film Festivalsguest edited by Richard Porton

In an increasingly ‘event-driven’ cultural environ-ment, film festivals are now regarded as indispens-able. Yet are festivals such as Cannes, Sundance and Toronto being sabotaged by their own suc-cess? Do they truly serve the needs of cinephiles, as well as the larger public? These are among the questions explored in essays, memoirs and polem-ics by an array of critics and programmers.

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February 2009

DEKALOG 1On The Five Obstructionsguest edited by Mette Hjort

Released in 2003, Lars von Trier and Jørgen Leth’s collaborative film has been received as one of the most intriguing and significant cinematic works of recent times. This first issue in the Dekalog series brings together writers from diverse disciplinary and national backgrounds who present a case for seeing The Five Obstructions as a philosophically compelling cinematic work.

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DEKALOG the new home for serious film criticism

DEKALOG 4 ON EAST ASIAN FILMMAKERSguest edited by Kate E. Taylor


pbk £12.00 / $20.00978-1-906660-31-4164 pagesOctober 2009

In the last few years East Asian cinema has become a worldwide phenomenon, and East Asian directors such as Park Chan-wook, Wong Kar Wai and Takashi Miiki have become household names. Dekalog 4: On East Asian Filmmakers brings together scholars from Japan, Hong Kong, Switzerland, North America and the UK to offer several unique and insightful readings into selected East Asian directors and their works. Filmmakers examined include Zhang Yimou, Apichatpong Weerasethakul, Rithy Panh, Kinji Fukasaku and Jia Zhangke. This volume also includes one of the first overviews of Japanese and Chinese women filmmakers. Dekalog 4 provides a unique insight into East Asian film and the filmmakers that have brought it to global recognition.

Kate E. Taylor is lecturer in Visual Culture at Bangor University, Wales. She teaches and publishes on a variety of topics including Japanese and South Korean visual arts, feminism and world cinema and the body in film and culture.

CULTOGRAPHIES a new list of individual studies of cult film


The Wall Street Journal called it ‘grotesque, sadistic, irrational, obscene, incompetent’ while for New York magazine it was ‘a catastrophe’. Upon its initial release, Sam Peckinpah’s film was a critical and commer-cial disaster. But for many, it is a demented masterpiece, a slice of violent, hallucinatory autobiography and the only ‘pure Peckinpah’. This study looks at the making of this most divisive of films, its initial reception and sub-sequent reassessment. As part of an in-depth analysis, consideration is given to its status as an auteur work, a genre film, a confession and a bizarre self-parody.

Ian Cooper is a screenwriter, author and book editor. His contributions to the Wallflower Press Critical Guides series in-clude entries on Robin Hardy, Bob Clark and Zalman King.


Over the last twenty years, Sam Raimi’s The Evil Dead (1981) has been celebrated as a rollercoaster ride of terror; a classic horror video hit; an exemplar of the 1980s cycle of tongue-in-cheek and excessively gory horror films; and as the film that introduced the now-iconic character of Ash (played by Bruce Campbell). This study considers the range of factors that have contributed to the film’s continuingly evolving cult reputation – the story of the film’s gruelling production, its journey from Cannes to video and DVD, the film’s play with the conventions of the horror genre, and its status, for fans and critics alike, as one of the grungiest, gutsiest and most inventive films in horror movie history.

Kate Egan is lecturer in Film Studies at Aberystwyth University, and author of Trash or Treasure?: Censorship and the Changing Meanings of the Video Nasties (2007).


A box-office flop which entered the midnight movie circuit, Blade Runner (1982) has had an extraordinary cultural life that can also be traced to its appearances on video, laserdisc and a five-DVD collector’s edition. It has become a network of variant texts and fan speculations, and has been dubbed a ‘classroom cult’ for its role in academic debates. It is also a ‘design cult’ thanks to Ridley Scott’s on-screen creation of Los Angeles, 2019. Blade Runner tests the limits of authenticity and artificiality, challenging distinctions between classic and flop, margin and mainstream, true cult and its replicants.

Matt Hills is reader in Media and Cultural Studies at Cardiff University. He is author of Fan Cultures (2002), The Pleasures of Horror (2005) and Triumph of a Time Lord: Regenerating Doctor Who in the Twenty-first Century (2009).

Cultographies is devoted to the analysis of the weird and wonderful world of cult cinema. This new series provides a comprehensive introduction to those films which have attained the coveted status of a cult classic, focusing on their particular appeal, the ways in which they have been conceived, constructed and received, and their place in the broader popular cultural landscape.

pbk £10.00 / $15.00978-1-906660-32-1144 pagesOctober 2009

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pbk £10.00 / $15.00978-1-906660-34-5144 pagesOctober 2009


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CULTOGRAPHIES a new list of individual studies of cult film


Banned by the Carpenter Estate, Todd Haynes’ experimental biopic Superstar: The Karen Carpenter Story has attained significant cult status due to its illegality and lack of availability. This study details the film’s fascinating history: its production and initial reception, the journey through the courts, and the subsequent bootleg circulation amongst fans.


Rob Reiner’s phony road movie has long been celebrated as a comedy landmark, but this is the first attempt to provide a sustained critical appraisal of its success. Addressing general cinephiles and devoted Tapheads alike, this detailed stylistic and comic analysis considers the film within its contexts of cult cinema, real and mock documentary, Hollywood comedies and musicals and the history of rock music.


Within just a few years, The Rocky Horror Picture Show grew from an oddball musical to a celebrated cinematic experience of midnight features and out-rageous audience participation. This study tells the extraordinary story of the film from initial reception to eventual cult status. Uncovering the film’s non-conformist sexual politics and glam-rock attitude, this volume explores its emphasis on the theatrical body, and its defiant queering of cinema history.

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BAD TASTEJim Barratt

And now for something completely different … a low-budget comedy gore film from New Zealand, influenced as much by the work of Monty Python and Buster Keaton as by splatter masters like Sam Raimi and George A. Romero. In the gifted hands of Peter Jackson and his collaborators, Bad Taste has become a steady-earning cult classic, launching the career of the world’s highest-paid filmmaker.


Donnie Darko was among the first cult movie phenomena of the twenty-first century, making debut director Richard Kelly Hollywood hot property before his thirtieth birthday. This study narrates the film’s journey from box office bemusement through word of mouth success to the director’s cut of the film, and also discusses fans’ reactions to the film’s enigmatic conclusion, explaining how Donnie Darko gripped the imagination of Generation X.

THE YOUTUBE READERedited by Pelle Snickars and Patrick Vonderau

pbk £16.99 / $25.00978-9-188468-11-6 350 pagesApril 2009

Over the last few years YouTube has become the very epitome of digital culture. With more than 70 million unique users each month and approximately 80 million videos online, this brand-name video distribution platform holds the richest repository of popular culture on the Internet. As the fastest growing site in the history of the Web, YouTube promises endless new opportunities for amateur video, political campaigning, entertainment formats and viral marketing – a clip-culture seemingly outpacing both cinema and television. The YouTube Reader is the first full-length book to explore YouTube as an industry, an ar-chive and a cultural form. The volume brings together renowned film and media scholars in a discussion of the potentials and pitfalls of ‘broadcasting yourself’. It confronts prevalent claims to newness, immediacy or popularity with systematic and theoretically informed arguments. It offers a closer look at both texts accessible via YouTube and policies and norms governing how they are accessed and used. Among the contributors are Chris-topher Anderson, Thomas Elsaesser, Richard Grusin, Bernard Stiegler, Toby Miller, Lisa Parks, William Uricchio and Janet Wasko.

Pelle Snickars is Head of Research at the National Library of Sweden. Patrick Vonderau is assistant professor in the department of Media Studies at Ruhr University, Bochum, Germany.

LOS ANGELES BEFORE HOLLYWOODJournalism and American Film Culture, 1905 to 1915Jan Olsson

This study provides a meticulous account of the reception and regulation of cinema in the United States during a decade of upheaval, transition and industrial consolidation affecting all realms of film culture. Written in close dialogue with contemporary journalism, this volume focuses on film culture in Los Angeles up to the era of Hollywood, from 1905 to 1915. It discusses exhibition practices, regulatory efforts and reforms, the critical role women played in all dimensions of film culture and the burgeoning film journalism pivoting around the feature format and serial films. This work thus provides an important contribution to both film history and urban studies during the Progressive Era in a city predicated on Midwestern sensibilities in spite of its eclectic mix of ethnicities.

Jan Olsson is professor of Cinema Studies at Stockholm University and has authored a series of monographs in Swedish on different aspects of Scandinavian silent cinema. He is co-editor of Nordic Explorations (1999), Allegories of Communication (2004) and Television After TV (2005).

hbk £19.99 / $35.00978-9-188468-06-2 479 pagesJanuary 2009

National Library of Sweden

Existing publications in the Cultographies series are listed here. Forthcoming additions to the list include El Topo, Frankenstein, Faster Pussycat… Kill! Kill!, Stranger Than Paradise, Quadrophenia, Deep Red, Enter the Dragon, THX-1138, Flaming Creatures...

Fuller details on all titles in the series can be found at


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St Andrews Film Studies Axiom Books Austrian Film Museum

FILM FESTIVAL YEARBOOKVolume 1: The Festival Circuitedited by Dina Iordanova

WIM WENDERSedited by Jason Wood and Ian Haydn Smith

pbk £16.99 / $25.00978-1-906678-04-3 200 pagesMay 2009

pbk £19.99 / $35.00978-0-955811-20-3 95 pagesFebruary 2009

The first in an annual series, the Film Fes-tival Yearbook will feature articles related to the global proliferation of film festivals. This volume is focused on the dynamics of the film festival circuit, including the roles of individual festivals as nodes on this complex network and the cultural policies that shape its channels of film exhibition and distribution. This inaugural volume will include essays by Charles-Clemens Rüling, Ragan Rhyne, Ruby Cheung, and Rahul Hamid, amongst others. Forthcoming volumes will be dedicat-ed to gay and lesbian film festivals; festivals of Asia and the Asian diaspora; and festivals and geopolitics.

Dina Iordanova is Professor of Film Studies at the University of St Andrews where she directs the Dynamics of World Cinema project. She is the author of Cinema of Flames: Balkan Film, Culture and the Media (2001) and Cinema of the Other Europe: The Industry and the Artistry of East Central European Film (2003) and editor of Cinema of the Balkans (2006). She guest-edited a recent ‘Festivals’ issue for Film International (2008).

Wim Wenders celebrates the work of one of contemporary cinema’s finest directors. Featuring interviews, analyses and images from all his films, the book is an insight into a remarkable body of work by a filmmaker who has consistently pushed the boundaries of cinema.This lavishly illustrated, large-format book includes insightful contributions from Walter Salles, Bernado Bertolucci and Wim Wenders himself.

Jason Wood is a writer and film programmer. His books include The Faber Book of Mexican Cinema (2005), Talking Movies: Interviews with Contemporary World Filmmakers (2006) and 100 Road Movies (2005).

Ian Haydn Smith is a London-based film writer and critic. He is editor of the International Film Guide and co-editor of Wallflower Press’s 24 Frames series on national and regional cinema.

MOVING PEOPLE, MOVING IMAGESCinema and Trafficking in the New EuropeWilliam Brown, Dina Iordanova and Leshu Torchin

Human trafficking has long been a subject of cinema. The silent Traffic in Souls used it to titillate and promote reform movements as early as 1913. Since then the subject has been revisited at various times and in various contexts. In the past decade, the dramatic rise in migration and the demise of national borders across the ‘new’ Europe have turned human traffic into one of the dominant narratives of contemporary cinema. This study focuses on the current cycle of films that play upon global anxieties about trafficking. Like their subject, the essays in this volume cross national borders to reflect on recent films that depict white slavery, drug trafficking and undocumented labour. The volume considers trafficking films by internationally renowned directors such as Amos Gitaï (Promised Land), the Dardenne Brothers (Lorna’s Silence), Nick Broomfield (Ghosts), Michael Winterbottom (In This World) and Ulrich Seidl (Import/Export). A range of documentary and activist films on the topic are also examined, as well as examples from the realm of popular genres.

William Brown, Dina Iordanova and Leshu Torchin all teach Film Studies at the University of St Andrews.

pbk £16.99 / $25.00978-1-906678-03-6 180 pagesSeptember 2009

GUSTAV DEUTSCHedited by Wilbirg Brainin-Donnenberg and Michael Loebenstein

Since the 1990s, the genre of ‘found footage film’ has flourished on an international scale. Among the filmmakers that gained prominence in this context of ‘applied media archaeology’, Gustav Deutsch is an outstanding case. His work – including the series Film Is (1998) or Welt Spiegel Kino (2005) – has been shown widely at film festivals and in the contemporary art world. This is the first volume on his 30-year career as an artist working in film, video and installation. Contributors to the book include Linda Williams, Tom Gunning, Scott MacDonald, Nico de Klerk and Alexander Horwath.


Thai filmmaker Apichatpong ‘Joe’ Weerasethakul is widely praised as one of the central figures in contemporary cinema. Trained as a visual artist in the US, he has stunned the film world with five innovative and dreamlike features made since 2000 – including award-winning films such as Blissfully Yours (2002), Tropical Malady (2004) and Syndromes and a Century (2006). James Quandt, the editor of this first English-language book on Weerasethakul, is one of the foremost film critics and curators working in North America today. Further contributors include Benedict Anderson, Tony Rayns, Kong Rithdee and actress Tilda Swinton.

pbk £15.99 / $27.50


200 pages

March 2009

pbk £15.99 / $27.50


240 pages

February 2009





NEW Axiom Books are an imprint of Axiom Films, a leading London-based film production and distribution company. Wallflower Press are proud to carry all their titles within our list of film books.

Page 13: NEW BOOKS 2009 · 2010-04-16 · Dream (2000), Amelie (2001), Moulin Rouge (2001), City of God (2002) and Oldboy (2003) are some of the examples analysed here in depth in order to


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