検索キーワード： 歴史・批評

In his first memoir, Ander Monson guides listeners through a scene-by-scene exploration of the 1987 film Predator, which he has watched 146 times. Some fighters might not have time to bleed, but Monson has the patience to consider their adventure, one frame at a time. He turns his obsession into a lens through which he poignantly examines his own life, formed by mainstream white male American culture.

I was a “Monster Kid” and “The Weird Kid, The Horror Movie Kid.” I found out early…horror is always personal. Now I make horror for a living. It shouldn’t just be WATCHED. Horror should be ENJOYED. This isn’t some stuffy analysis telling you what’s good or bad. Instead, it’s a tour of the 1930s through the 1980s—a personal account of how the best and worst of this era gave us so many memories and experiences that impacted our own lives. It’s fun…just how horror should always be.

En cierto sentido, la historia no es lo que ocurrió, sino lo que creemos que ocurrió. En este sentido, el cine y la fotografía nos han “enseñado” más historia que los libros de la SEP. En esta obra, el historiador Ricardo Pérez Montfort ofrece una serie de ensayos sobre este fenómeno.

Music composed for television had, until recently, never been taken seriously by scholars or critics. Catchy TV themes, often for popular weekly series, were fondly remembered but not considered much more culturally significant than commercial jingles. Yet noted composers like John Williams, Henry Mancini, and Jerry Goldsmith learned and/or honed their craft in television before going on to major success in feature films.

Nel 1933 viene lanciato nei cinema USA "I tre porcellini" di Walt Disney. Questo piccolo avvenimento segna l'inizio della parabola della cultura mainstream promossa dai film delle majors hollywoodiane, raccolta e amplificata dalla radio e dalla tv. Questo tipo di cultura, basata su un'idea consolatoria dell'intrattenimento, fondata su una visione manichea del bene contro il male e sul must del lieto fine, prende forma allora e mette radici nell'immaginario collettivo dell'Occidente.

Probablemente, Quentin Tarantino sea uno de los mayores cineastas de la historia, pero de lo que no hay atisbo de duda es de que estamos hablando del espectador que mejor puede contagiar su pasión entusiasta por las películas que ha visto. Ahora, por fin llega el libro con el que tantos años soñaron él y sus seguidores.

There is no failure like televised failure. It is the most public failure. The most humbling failure. So it was odd when the two men who had assembled the biggest bomb in TV history began high-fiving on the sidelines of the XFL’s final game.

Este libro analiza la metamorfosis del mito desde la leyenda del castillo de Transilvania hasta su reinterpretación animada en el cine. Los niños del pasado temían a los vampiros; los de hoy en día quieren ser uno. Y los adultos encuentran en su promesa de felicidad un refugio ante los empleos precarios, las relaciones tóxicas y las megacorporaciones que nos chupan la sangre a diario.

El pueblo de Chinchero -a 28 kilómetros del Cusco- estaba, en 1970, en un territorio hermoso, todavía intocado por la maquinaria aplastante del turismo masivo. Hasta ahí llegó el joven y conflictivo Dennis Hopper para rodar la que vislumbraba como una obra maestra de la contracultura hippie: The Last Movie.

For over a century, cinephiles and film scholars have had to grapple with an ugly artifact that sits at the beginnings of film history. D. W. Griffith's profoundly racist epic, The Birth of a Nation, inspired controversy and protest at its 1915 release and was defended as both a true history of Reconstruction (although it was based on fiction) and a new achievement in cinematic art. Paul McEwan examines the long and shifting history of its reception, revealing how the film became not just a cinematic landmark but also an influential force in American aesthetics and intellectual life.

Susie Bright, “The Pauline Kael of Porn” (SF Chronicle), rips open the history of erotic cinema before the internet— from the Golden Age of lavish 35mm hardcore, to the video-inspired “Porno Spring”, initiated by none other than punk, feminist, and lesbian video-makers.

Un viaggio affascinante e intenso nelle pellicole che hanno fatto la storia del cinema per esplorare il sentimento della paternità. Affettuosi e gentili, oppure irascibili e brutali, colpevoli o redenti, indulgenti o moralisti, attesi o rimpianti, guerrieri o sconfitti, i tanti padri narrati in questo libro disegnano un unico grande ritratto composto di infiniti volti in cui cercare anche quello della propria famiglia.

The brutalized body of 14-year-old Emmett Till was published in Jet magazine at the insistence of his mother, Mamie Till-Mobley. Mamie wanted the horrific photograph of her son’s lynched body to be displayed for the world to see, to expose America to its own barbaric acts of racial terror. As such, Emmett’s death and Mamie’s actions afterwards would ignite a crucial moment in the civil rights movement, changing the course of history forever.

If Hollywood had a superhero throne, Spider-Man would be perched upon it. As the most popular superhero in the world, the web-slinger plays a pivotal role in three of the six highest-grossing film franchises in history: the Marvel Cinematic Universe; the Avengers quadrilogy; and the Spider-Man movies themselves. Spidey has come a long way since Marvel guru Stan Lee first concocted him in 1962, but until now his cinematic journey has not been fully documented.

In this intimate and often surprising personal portrait, Joseph McBride challenges the conventional wisdom that Welles' career after Citizen Kane, widely regarded as the greatest film ever made, fell into a long decline. The author shows instead how Welles never stopped directing radical, adventurous films and was always breaking new artistic ground as a filmmaker. McBride is the first author to provide a comprehensive examination of the films of Welles's artistically rich yet widely misunderstood later period in the United States (1970–1985).

Grandes temas a través de la historia y el cine es un libro dirigido a todo aquel interesado en conocer en profundidad algunos de los problemas más relevantes de nuestra historia pasada y presente. Analizado con gran rigor histórico y redactado de forma didáctica y amena, la autora aborda cuestiones claves como los nacionalismos, las represiones políticas, el enfrentamiento entre la ciencia y la fe, las grandes plagas de la historia o las minorías religiosas y étnicas. Cada uno de estos temas se entreteje en torno a una serie de películas seleccionadas.

Based on characters created by Archie Comics, Josie and the Pussycats was a box office disappointment for MGM and Universal who produced and distributed the movie but has gone on to become a cult classic in the years since. Best Movie Ever is the product of dozens of hours of interviews with members of the movie’s cast and crew, as well as industry analysts, comic book creators, and the fans who helped keep the movie alive after the filmmakers had been told it was “dead on arrival".

The television industry is changing, and with it, the small screen's potential to engage in debate and present valuable representations of American history. Founded in 1972, HBO has been at the forefront of these changes, leading the way for many network, cable, and streaming services into the "post-network" era. Despite this, most scholarship has been dedicated to analyzing historical feature films and documentary films, leaving TV and the long-form drama hungry for coverage. Rebecca Weeks fills the gap in this area and defends the historiographic power of long-form dramas.

From the triumphant “Main Title” in Star Wars to the ominous bass line of Jaws, John Williams has penned some of the most unforgettable film scores—while netting more than fifty Academy Award nominations. This updated and revised edition of Emilio Audissino’s groundbreaking volume takes stock of Williams’s creative process and achievements in music composition, including the most recent sequels in the film franchises that made him famous. Audissino details his lasting impact and cements his legacy as one of the most important composers in movie history.

When the Hollywood Ten refused to answer the questions of the House Committee on Un-American Activities about their membership in the Communist Party, they were sentenced to prison, the five who were under contract were fired by their studios, and all were blacklisted from reemployment until they "purged themselves of their communist taint". The Hollywood Motion Picture Blacklist: Seventy-Five Years Later offers new insights on the origins of the blacklist, the characteristics of those blacklisted, and the probability of future proscriptions of the blacklist type.