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Film and Digital Media
Vinicius Navarro

This article looks at contemporary film scholarship in order to address one of the disciplines pressing questions: the place of cinema in a context of rapid technological change. Rather than simply focus on technology, however, the article calls for a broad set of criteria to define what counts as cinema today. In particular, it revisits the concept of expanded cinema and treats filmmaking as an event that combines the contexts of production and reception. Finally, the article insists on the relevance of film studies as a field that will continue to lead the debate on moving image media.

Film Studies
The stardom of Catherine Deneuve
Editors: Lisa Downing and Sue Harris

Few screen icons have provoked as much commentary, speculation and adulation as the 'she' of this plaudit, Catherine Deneuve. This book begins with a brief overview of Deneuve's career, followed by a critical survey of the field of theoretical star studies, highlighting its potential and limitations for European, and particularly French, film scholarship. It argues the need for the single-star case study as a model for understanding the multiple signifying elements of transnational stardom. Her first role, at the age of 13, was a brief appearance as a schoolgirl in André Hunebelle's Collégiennes/The Twilight Girls. It was in 1965 that Roman Polanski would cast Catherine Deneuve in Repulsion, described by one critic as a 'one-woman show' in a role that would effectively create a persona which would resonate throughout her future film career. The darker shades of the Deneuve persona are in even greater evidence in Tristana. Demy's Donkey Skin is arguably an equal source of the tale's iconic status in France today, and largely because of Deneuve. The book also investigates films of the 1970s; their role in shaping her star persona and the ways in which they position Deneuve in relation to French political culture. The book considers exactly why directors gravitate towards Deneuve when trying to evoke or represent forms of female homosexual activity on film, and to consider exactly what such directors actually make Deneuve do and mean once they have her performing these particular forms of lesbian relation.

The history of classical Mexican cinema and its scholarship
Dolores Tierney

Hollywood As Paranaguá points out, Mexico’s national cinema, like the rest of the national cinemas in Latin America, is victim to the idea of its own poverty/underdevelopment in the face of Hollywood (1995: 8). This sense of striving for and not achieving the industrial development of its near neighbor to the north translates in film scholarship into the assertion of technical inferiority and a refusal to

in Emilio Fernández
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Horror cinema and traumatic events
Linnie Blake

Conclusion: horror cinema and traumatic events In exploring the response of genre films from Japan and Germany, the United States and the United Kingdom to the traumatic social, cultural and personal legacies of the Second World War, Vietnam and 9/11 and to the broader cultural changes engendered by transformations to traditional gender roles since the 1970s, this study has engaged with a number of debates drawn from horror film scholarship, trauma theory, post-colonial studies and cultural studies. Specifically though, it has been concerned with the ways in

in The wounds of nations
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Lisa Downing and Sue Harris

This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book begins with a brief overview of Catherine Deneuve's career, followed by a critical survey of the field of theoretical star studies, highlighting its potential and limitations for European, and particularly French, film scholarship. It argues the need for the single-star case study as a model for understanding the multiple signifying elements of transnational stardom. From the outset, Deneuve was engaged in provocative screen roles that highlighted questions of female sexual identity. Her first role, at the age of 13, was a brief appearance as a schoolgirl in André Hunebelle's Collégiennes/The Twilight Girls (1956). Deneuve's first serious success came with her role in Jacques Demy's contemporary musical fable, Les Parapluies de Cherbourg/ The Umbrellas of Cherbourg.

in From perversion to purity
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Dolores Tierney

of Ayala Blanco, De los Reyes and García Riera, and of their ‘disciples,’ as detailed as it is, has left substantial gaps, some of which have been filled by Monsiváis’ very different style of film scholarship. Monsiváis, Mexico’s foremost cultural critic, has written widely on literature, journalism and photography as well as on cinema. He is the coauthor, along with Carlos Bonfil, of A través del

in Emilio Fernández
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Jay Beck and Vicente Rodriguez Ortega

premise that Spanish cinema is a product of local, regional, national and global forces operating in diverse contact zones inside and outside of geopolitical borders. In recent years film scholarship has attempted to negotiate the tension between the nationally specific and the internationally ubiquitous in discussing how the global era has contributed to change films and the surrounding cultural practices. These broader social

in Contemporary Spanish cinema and genre
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Sian Barber

and explored. Chapter 4 will explore the trends that have informed film scholarship and the way in which film has been viewed, understood and studied in different periods. This chapter will also examine how trends in historiography can be discerned within and mapped alongside trends in film scholarship. The next few chapters will move away from the theoretical and the historical and suggest a practical approach for studying film and using it as a source. Chapter 5 will offer suggestions on how to identify achievable research questions that draw upon and relate to

in Using film as a source
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Sian Barber

concerns and trends within historical scholarship? And how can we explore filmic works and moving image material in a range of different ways? Influences on the discipline Film scholarship owes a great deal to its emergence from two very different fields. The two parallel influences on film are English literature and social and cultural history, and these two disciplines have informed the development of two distinct branches of film research: respectively, film studies and cinema history. Jeffrey Richards explains: Film studies [is] centrally concerned with the text

in Using film as a source
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Gender trouble in Siddiq Barmak’s Osama
Gabrielle Simm

when film has been edited. Such cinematic illiteracy could have important implications where film is relied on as evidence, which seems to be the most frequent way in which film becomes an issue in international law in practice. As for research, does international law and film scholarship do more than ‘remain grounded in one discipline while dabbling in the theory and methods of another’? 15 In short, whether it lies across disciplinary boundaries or demarcates its own territory within international law, international law and film scholarship is welcome for what it

in Cinematic perspectives on international law