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      • Cinosargo

        Cinosargo Editions is a Chilean publishing label based in Mexico. We are a cross-border project with a catalog of one hundred titles by Latin American authors. Cinosargo is a multimedia project that was born on the northern border of Chile (Arica), bordering Peru and Bolivia in 2003. Since 2010 we have become one of the Chilean independent publishers with the greatest projection and continuity.Cinosargo covers the digital dissemination of art through its magazine, and the production and distribution of the printed book thanks to our publishing house and the organization of Fairs, Festivals and Congresses. You can visit our sites www.cinosargo.cl and www.cinosargoediciones.comOur editorial team is led by Daniel Rojas Pachas, Milvia Alata and Gonzalo Geraldo.

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      • Magic Author

        We are a one-stop platform to read, write, self-publish and sell ebooks in any of the Indian languages. Our mission is to empower the author's community with the digital tools and techniques, and we take care of the online presence of professionals in the publishing landscape, be they authors, publishers, editors, designers, publicists, etc.

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      • Trusted Partner
        Negotiating the auteur
        The Arts
        January 2019

        Negotiating the auteur

        Dominique Cabrera, Noémie Lvovsky, Laetitia Masson and Marion Vernoux

        by Julia Dobson

        This book provides the first detailed analysis of the work of four important contemporary directors whose work falls between the reductive labels of 'auteur cinema' and 'popular cinema'. Their work is contextualised within this timely investigation into the shifting relationship between the privileged status of the auteur and questions of genre, gender and cinematic production in France today. This important contribution to understanding the shifting landscapes of contemporary French film identifies an essential intermediacy in the films of these directors, which works to undo a series of dominant oppositions, generic template and contestation, public collectivity and personal intimacy, to offer a new perspective on the location of the political in contemporary French cinema. The four chapters provide detailed critical analysis of films by Dominique Cabrera, Laetitia Masson, Noémie Lvovsky and Marion Vernoux, and present common thread including the possible construction of social intimacy, the political demystification of romance narratives and the role of nostalgia, to argue that their work uses popular genres in order to challenge dominant cultural representation that resonates beyond the immediate parameters of contemporary French cinema. This book will be of interest to researchers working in French and European cinema, to students of Film Studies and French and Francophone Studies, and to film enthusiasts.

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        Five Directors
        The Arts
        January 2019

        Five Directors

        Auteurism from Assayas to Ozon

        by Kate Ince

        Auteurism - the idea that a director of a film is its source of meaning and should retain creative control over the finished product - has been one of film studies' most important paradigms ever since the French New Wave of the late 1950s and early 1960s, and the adoption of the term auteur by Andrew Sarris. Through the popular, controversial and critically acclaimed films of Olivier Assayas, Jacques Audiard, the Dardenne borthers, Michael Haneke and Francois Ozon, this book looks into how the meaning of 'auteur' has changed over this half-century, and assesses the current state of Francophone auteur cinema. It combines French philosophical and sociological approaches with methodologies from the Anglo-American fields of gender studies, queer theory and postmodernism. This volume will be of interest to researchers and students of film studies, European cinema and French and Francophone studies, as well as to film enthusiasts.

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        Negotiating the auteur
        The Arts
        July 2012

        Negotiating the auteur

        Dominique Cabrera, Noémie Lvovsky, Laetitia Masson and Marion Vernoux

        by Julia Dobson, Diana Holmes, Robert Ingram

        This book provides the first detailed analysis of the work of four important contemporary directors whose work falls between the reductive labels of 'auteur cinema' and 'popular cinema'. Their work is contextualised within this timely investigation into the shifting relationship between the privileged status of the auteur and questions of genre, gender and cinematic production in France today. This important contribution to understanding the shifting landscapes of contemporary French film identifies an essential intermediacy in the films of these directors, which works to undo a series of dominant oppositions, generic template and contestation, public collectivity and personal intimacy, to offer a new perspective on the location of the political in contemporary French cinema. The four chapters provide detailed critical analysis of films by Dominique Cabrera, Laetitia Masson, Noémie Lvovsky and Marion Vernoux, and present common thread including the possible construction of social intimacy, the political demystification of romance narratives and the role of nostalgia, to argue that their work uses popular genres in order to challenge dominant cultural representation that resonates beyond the immediate parameters of contemporary French cinema. This book will be of interest to researchers working in French and European cinema, to students of Film Studies and French and Francophone Studies, and to film enthusiasts. ;

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        Contemporary Spanish cinema
        The Arts
        January 2019

        Contemporary Spanish cinema

        by Barry Jordan, Rikki Morgan-Tamosunas

        Contemporary focus, right up to date with material from 1980s and 90s. Wide-ranging analyses of major directors, themes, genres and issues, including historical film, genre cinema, women in film and autonomies.

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        Alejandro Amenábar
        The Arts
        January 2019

        Alejandro Amenábar

        by Barry Jordan

        Since the release of his first feature in 1996, Alejandro Amenábar has become the 'golden boy' of Spanish filmmaking, a bankable star director whose brand virtually guarantees quality, big audiences and domestic box office success. He has directed three of the highest-grossing movies in Spanish film history and has enjoyed enormous international and critical acclaim, including an Oscar for Best Foreign Film for Mar Adentro/The Sea Inside, 2004. This book is the first full-length study in English of Amenábar's shorts and feature films. It provides detailed analysis of his engagement with popular film genres as the basis for an auteur cinema and incorporates a reappraisal of his auteurism as fundamentally decentred and shared. An essential resource for students, scholars and fans of Amenábar, the book will also appeal to a wider readership, including professionals in the film, media and culture industries as well as those who have a general interest in the best of Spanish, European and world cinema.

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        Lukácsian film theory and cinema
        The Arts
        June 2021

        Lukácsian film theory and cinema

        A study of Georg Lukács' writing on film 1913–1971

        by Ian Aitken

        Lukácsian film theory and cinema explores Georg Lukács' writings on film. The Hungarian Marxist critic Georg Lukács is primarily known as a literary theorist, but he also wrote extensively on the cinema. These writings have remained little known in the English-speaking world because the great majority of them have never actually been translated into English - until now. Aitken has gathered together the most important essays and the translations appear here, often for the first time. This book thus makes a decisive contribution to understandings of Lukács within the field of film studies, and, in doing so, also challenges many existing preconceptions concerning his theoretical position. For example, whilst Lukács' literary theory is well known for its repudiation of naturalism, in his writings on film Lukács appears to advance a theory and practice of film that can best be described as naturalist. Lukácsian film theory and cinema is divided into two parts. In part one, Lukács' writings on film are explored, and placed within relevant historical and intellectual contexts, whilst part two consists of the essays themselves. This book will be of considerable interest to scholars and students working within the fields of film studies, literary studies, intellectual history, media and cultural studies. It is also intended to be the final volume in a trilogy of works on cinematic realism, which includes the author's earlier European film theory and cinema (2001), and Realist film theory and cinema (2006).

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        Contemporary French cinema
        The Arts
        June 2021

        Contemporary French cinema

        An introduction (revised edition)

        by Guy Austin

        Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.

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      • Trusted Partner
        Contemporary French cinema
        The Arts
        January 2019

        Contemporary French cinema

        An introduction (revised edition)

        by Guy Austin

        Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.

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        The cinema of Pedro Almodóvar
        The Arts
        December 2022

        The cinema of Pedro Almodóvar

        by Ana María Sanchez-Arce

        This book offers a comprehensive film-by-film analysis of Spain's most famous living director, Pedro Almodóvar. It shows how Almodóvar's films draw on various national cinemas and genres, including Spanish cinema of the dictatorship, European art cinema, Hollywood melodrama and film noir. It also argues that Almodóvar's work is a form of social critique, his films consistently engaging with and challenging stereotypes about traditional and contemporary Spain in order to address Spain's traumatic historical past and how it continues to inform the present. Drawing on scholarship in both English and Spanish, the book will be of interest to undergraduate and postgraduate students of film studies and Hispanic studies, scholars of contemporary cinema and general readers with a passion for the films of Pedro Almodóvar.

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        Algerian national cinema
        The Arts
        June 2021

        Algerian national cinema

        by Guy Austin

        This topical and innovative study is the first book on Algerian cinema to be published in English since the 1970s. At a time when North African and Islamic cultures are of increasing political significance, Algerian National Cinema presents a dynamic, detailed and up to date analysis of how film has represented this often misunderstood nation. Algerian National Cinema explores key films from The Battle of Algiers (1966) to Mascarades (2007). Introductions to Algerian history and to the national film industry are followed by chapters on the essential genres and themes of filmmaking in Algeria, including films of anti-colonial struggle, representations of gender, Berber cinema, and filming the 'black decade' of the 1990s. This thoughtful and timely book will appeal to all interested in world cinemas, in North African and Islamic cultures, and in the role of cinema as a vehicle for the expression of contested identities. By the author of the critically-acclaimed Contemporary French Cinema.

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        Algerian national cinema
        The Arts
        January 2019

        Algerian national cinema

        by Guy Austin

        This topical and innovative study is the first book on Algerian cinema to be published in English since the 1970s. At a time when North African and Islamic cultures are of increasing political significance, Algerian National Cinema presents a dynamic, detailed and up to date analysis of how film has represented this often misunderstood nation. Algerian National Cinema explores key films from The Battle of Algiers (1966) to Mascarades (2007). Introductions to Algerian history and to the national film industry are followed by chapters on the essential genres and themes of filmmaking in Algeria, including films of anti-colonial struggle, representations of gender, Berber cinema, and filming the 'black decade' of the 1990s. This thoughtful and timely book will appeal to all interested in world cinemas, in North African and Islamic cultures, and in the role of cinema as a vehicle for the expression of contested identities. By the author of the critically-acclaimed Contemporary French Cinema.

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        French cinema in the 1970s
        The Arts
        January 2019

        French cinema in the 1970s

        The echoes of May

        by Alison Smith

        This book re-examines French cinema of the 1970s. It focuses on the debates which shook French cinema, and the calls for film-makers to rethink their manner of filming, subject matter and ideals in the immediate aftermath of the student revolution of May 1968. Alison Smith examines the effect of this re-thinking across the spectrum of French production, the rise of new genres and re-formulation of older ones. Chapters investigate political thrillers, historical films, new naturalism and Utopian fantasies, dealing with a wide variety of films. A particular concern is the extent to which film-makers' ideas and intentions are contained in or contradicted by their finished work, and the gradual change in these ideas over the decade. The final chapter is a detailed study of two directors who were deeply involved in the debates and events of the 70s, William Klein and Alain Tanner, here taken as exemplary spokesmen for those changing debates as their echoes reached the cinema.

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        Contemporary Spanish cinema and genre
        The Arts
        June 2021

        Contemporary Spanish cinema and genre

        by Jay Beck, Vicente Rodríguez Ortega

        This volume is the first English-language collection exclusively dedicated to the study of genre in relation to Spanish cinema. Providing a variety of critical perspectives, the collection gives the reader a thorough account of the relationship between Spanish cinema and genre, drawing on case studies of several of the most remarkable Spanish films in recent years. The book analyses the significant changes in the aesthetics, production and reception of Spanish film from 1990 onwards. It brings together European and North American scholars to establish a critical dialogue on the topics under discussion, while providing multiple perspectives on the concepts of national cinemas and genre theory. In recent years film scholarship has attempted to negotiate the tension between the nationally specific and the internationally ubiquitous, discussing how globalisation has influenced film making and surrounding cultural practice. These broader social concerns have prompted scholars to emphasise a redefinition of national cinemas beyond strict national boundaries and to pay attention to the transnational character of any national site of film production and reception. This collection provides a thorough investigation of contemporary Spanish cinema within a transnational framework, by positing cinematic genres as the meeting spaces between a variety of diverse forces that necessarily operate within but also across territorial spaces. Paying close attention to the specifics of the Spanish cinematic and social panorama, the essays investigate the transnational economic, cultural and aesthetic forces at play in shaping Spanish film genres today.

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      • Trusted Partner
        Contemporary Spanish cinema and genre
        The Arts
        January 2019

        Contemporary Spanish cinema and genre

        by Jay Beck, Vicente Rodríguez Ortega

        This volume is the first English-language collection exclusively dedicated to the study of genre in relation to Spanish cinema. Providing a variety of critical perspectives, the collection gives the reader a thorough account of the relationship between Spanish cinema and genre, drawing on case studies of several of the most remarkable Spanish films in recent years. The book analyses the significant changes in the aesthetics, production and reception of Spanish film from 1990 onwards. It brings together European and North American scholars to establish a critical dialogue on the topics under discussion, while providing multiple perspectives on the concepts of national cinemas and genre theory. In recent years film scholarship has attempted to negotiate the tension between the nationally specific and the internationally ubiquitous, discussing how globalisation has influenced film making and surrounding cultural practice. These broader social concerns have prompted scholars to emphasise a redefinition of national cinemas beyond strict national boundaries and to pay attention to the transnational character of any national site of film production and reception. This collection provides a thorough investigation of contemporary Spanish cinema within a transnational framework, by positing cinematic genres as the meeting spaces between a variety of diverse forces that necessarily operate within but also across territorial spaces. Paying close attention to the specifics of the Spanish cinematic and social panorama, the essays investigate the transnational economic, cultural and aesthetic forces at play in shaping Spanish film genres today.

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        Contemporary Australian cinema
        The Arts
        June 2017

        Contemporary Australian cinema

        An introduction

        by Jonathan Rayner

        Provides an introduction to the products and context of the new Australian film industry which arose toward the end of the 1960s. Traces the development of Australian film, in terms of prominent directors and stars, consistent themes, styles and evolving genres. The evolution of the film genres peculiar to Australia, and the adaptation of conventional Hollywood forms (such as the musical and the road movie) are examined in detail through textual readings of landmark films. Films and trends discussed include: the period film and Picnic at Hanging Rock; the Gothic film and the Mad Max trilogy; camp and kitsch comedy and the Adventures of Pricilla, Queen of the Desert. The key issue of the revival (the definition, representation and propagation of a national image) is woven through analysis of the new Australian cinema.

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        Postcolonial African cinema
        The Arts
        January 2019

        Postcolonial African cinema

        Ten directors

        by David Murphy, Patrick Williams

        This is the first introduction of its kind to an important cross-section of postcolonial African filmmakers from the 1950s to the present. Building on previous critical work in the field, this volume will bring together ideas from a range of disciplines - film studies, African cultural studies, and, in particular, postcolonial studies - in order to combine the in-depth analysis of individual films and bodies of work by individual directors with a sustained interrogation of these films in relation to important theoretical concepts. Structurally, the book is straightforward, though the aim is to incorporate diversity and complexity of approach within the overall simplicity of format. Chapters provide both an overview of the director's output to date, and the necessary background - personal or national, cultural or political - to enable readers to achieve a better understanding of the director's choice of subject matter, aesthetic or formal strategies, or ideological stance. They also offer a particular reading of one or more films, in which the authors aim to situate African cinema in relation to important critical and theoretical debates. This book thus constitutes a new departure in African film studies, recognising the maturity of the field, and the need for complex yet accessible approaches to it, which move beyond the purely descriptive while refusing to get bogged down in theoretical jargon. Consequently, the volume should be of interest not only to specialists but also to the general reader.

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        Modern European cinema and love
        The Arts
        May 2023

        Modern European cinema and love

        by Richard Rushton

        Modern European cinema and love examines nine European directors whose films contain stories about romantic love and marriage. The directors are Jean Renoir, Ingmar Bergman, Alain Resnais, Michelangelo Antonioni, Agnès Varda, François Truffaut, Federico Fellini, Jean-Luc Godard and Éric Rohmer. The book approaches questions of love and marriage from a philosophical perspective, applying the ideas of authors such as Stanley Cavell, Leo Bersani, Luce Irigaray and Alain Badiou, while also tracing key concepts from Freudian psychoanalysis. Each of the filmmakers engages deeply with notions of modern love and marriage, often in positive ways, but also in ways that question the institutions of love, marriage and the 'couple'.

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        Spanish cinema 1973–2010
        Film, TV & radio
        November 2014

        Spanish cinema 1973–2010

        Auteurism, politics, landscape and memory

        by Edited by Maria M. Delgado and Robin Fiddian

        This collection offers a new lens through which to examine Spain's cinema production following the isolation imposed by the Franco regime. The seventeen key films analysed in the volume span a period of thirty-five years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. They encompass different genres (horror, thriller, melodrama, social realism, documentary), both popular (Los abrazos rotos/Broken Embraces, Vicky Cristina Barcelona) and more select art house fare (En la ciudad de Sylvia/In the City of Sylvia, El espíritu de la colmena/Spirit of the Beehive) and are made in English (as both first and second language), Basque, Castilian, Catalan and French. Offering an expanded understanding of 'national' cinemas, the volume explores key works by Guillermo del Toro and Lucrecia Martel alongside an examination of the ways in which established auteurs (Almodóvar, José Garci, Carlos Saura) and the younger generations of filmmakers (Cesc Gay, Amenábar, Bollaín) have harnessed cinematic language towards a commentary on the nation-state.

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