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"Lutz Koepnick's "The Dark Mirror provides one of the finest, most compelling and suggestive accounts to date of the multiple locations of German cinema between Hitler and Hollywood. Charting the shifting relationships between institutional contexts and individual acts of reception, Koepnick ...

"Lutz Koepnick's "The Dark Mirror provides one of the finest, most compelling and suggestive accounts to date of the multiple locations of German cinema between Hitler and Hollywood. Charting the shifting relationships between institutional contexts and individual acts of reception, Koepnick persuasively shows how the German cinema and its filmmakers--both in exile and in Nazi Germany--contributed to a fragile, stratified, indeed, "nonsynchronous" public sphere."--Patrice Petro, author of "Aftershocks of the New: Feminism and Film History

"Lutz Koepnick's brilliant study debunks the received wisdom concerning Nazi German and Hollywood film of the 1930s and 40s. Using detailed analyses of 8 films, with special focus on sound and music, he insists upon the disjointed contexts and uneven relationships of American and German filmmaking. Historically nuanced and theoretically savvy, this remarkable book offers something for everyone: Americanists, Germanists, historians, students of cinema sound and music, those interested in debates between art and popular forms, and European and Hollywood production."--Caryl Flinn, author of "Strains of Utopia

The French Connection, The Last Picture Show, M.A.S.H., Harold and Maude--these are only a few of the iconic films made in the United States during the 1970s. Originally considered a "lost generation," the 1970s are increasingly recognized as a crucial turning point in American filmmaking, and many ...

The French Connection, The Last Picture Show, M.A.S.H., Harold and Maude--these are only a few of the iconic films made in the United States during the 1970s. Originally considered a "lost generation," the 1970s are increasingly recognized as a crucial turning point in American filmmaking, and many films from the era have resurfaced from oblivion to become a reference for new directorial talents. The Last Great American Picture Show explores this pivotal era in American film history with a collection of essays by scholars and writers that firmly situates the decade as the time of the emergence of "New Hollywood." Sam Peckinpah, Arthur Penn, Peter Bogdanovich, Monte Hellman, Bob Rafelson, Hal Ashy, Robert Altman, and James Tobac: these legendary directors developed innovative techniques, gritty aesthetics, and a modern sensibility in American film. Here, contributors compellingly argue that the cinema of today's major directors--Steven Spielberg, James Cameron, Quentin Tarantino, Ridley Scott, Robert Zemeckis--could not have come into existence without the groundbreaking works produced by the directors of the 1970s. A wholly engaging and long-overdue investigation of this important era in American film, The Last Great American Picture Show reveals how the films of the 1970s transformed the American social consciousness and influenced filmmaking worldwide.

The horror film is now one of the most popular and talked about film genres and yet, outside of the Hammer studio, very little has been written about British horror. Going beyond Hammer, British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The ...

The horror film is now one of the most popular and talked about film genres and yet, outside of the Hammer studio, very little has been written about British horror. Going beyond Hammer, British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The Ghoul and Dark Eyes of London to acknowledged classics such as Peeping Tom and The Wicker Man .Contributors explore the contexts in which British horror films have been censored and classified, judged by their critics and consumed by their fans. Uncovering neglected modern classics like Deathline , and addressing issues such as the representation of family and women, they consider the Britishness of British horror and examine sub-genres such as the psycho-thriller and witchcraftmovies, the work of the Amicus studio, and key filmmakers including Peter Walker. British Horror Cinema also features a comprehensive filmography and interviews with key directors Clive Barker and Doug Bradley.Chapters include:*the 'Psycho Thriller'*the British censors and horror cinema*femininity and horror film fandom*witchcraft and the occult in British horror*Horrific films and 1930s British Cinema*Peter Walker and Gothic revisionism