The eleventh edition of "A Short History of the Movies" continues its long-standing tradition of scrupulously accurate details, up-to-date information, and jargon-free writing style that has made it the most widely adopted film history textbook. This edition offers students a panoramic overview of the worldwide development of film. From the early experiments with motion photography, through the American studio years of the 1930's and 1940's, from Neorealism and the New Wave, up to the present age of digital cinema, "A Short History of Film "provides a comprehensive presentation of the history of cinema. This eleventh edition has been revised and updated to include current scholarship, recent industry developments, and new films and filmmakers.
This book traces the powerful discourses and embodied practices through which Black Caribbean women have been imagined and produced as subjects of British liberal rule and modern freedom. It argues that in seeking to escape liberalism's gendered and racialised governmentalities, Black women's everyday self-making practices construct decolonising and feminising epistemologies of freedom. These, in turn, repeatedly interrogate the colonial logics of liberalism and Britishness. Genealogically structured, the book begins with the narratives of freedom and identity presented by Black British Caribbean women. It then analyses critical moments of crisis in British racial rule at home and abroad in which gender and Caribbean women figure as points of concern. Post-war Caribbean immigration to the UK, decolonisation of the British Caribbean and the post-emancipation reconstruction of the British Caribbean loom large in these considerations. In doing all of this, the author unravels the colonial legacies that continue to underwrite contemporary British multicultural anxieties. This thought-provoking work will appeal to students and scholars of social and cultural history, politics, feminism, race and postcoloniality.
Long before "Monty Python and the Holy Grail," Hollywood's version of the Middle Ages had sometimes been laughable. Who can resist chuckling at "The Black Knight" (1954), in which Arthurian warriors ride across a plain complete with telephone poles in the background? Or "The Black Shield of Falworth" (1954), in which Tony Curtis-in his best medieval Bronx accent-utters the immortal line, "Yonda is the castle of my fodda"? These films may not be paragons of historical accuracy, but much of what we know-or think we know-about the Middle Ages has been dictated by what we've seen on the movie screen.
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