This new edition of 'The Cinema Book' looks at the recent developments in the field of cinema studies whilst retaining the historical coverage and depth of the original.

This revised and updated new edition provides a comprehensive introduction to the history of cinema in mainland China, Hong Kong and Taiwan, as well as to disaporic and transnational Chinese film-making, from the beginnings of cinema to the present day. Chapters by leading international scholars are grouped in thematic sections addressing key historical periods, film movements, genres, stars and auteurs, and the industrial and technological contexts of cinema in Greater China.

This comprehensively revised, updated and significantly extended edition introduces German film history from its beginnings to the present day, covering key periods and movements including early and silent cinema, Weimar cinema, Nazi cinema, the New German Cinema, the Berlin School, the cinema of migration, and moving images in the digital era. Contributions by leading international scholars are grouped into sections that focus on genre; stars; authorship; film production, distribution and exhibition; theory and politics, including women's and queer cinema; and transnational connections. Spotlight articles within each section offer key case studies, including of individual films that illuminate larger histories (Heimat, Downfall, The Lives of Others, The Edge of Heaven and many more); stars from Ossi Oswalda and Hans Albers, to Hanna Schygulla and Nina Hoss; directors including F.W. Murnau, Walter Ruttmann, Wim Wenders and Helke Sander; and film theorists including Siegfried Kracauer and Béla Balázs. The volume provides a methodological template for the study of a national cinema in a transnational horizon.

In its first ten years, a small Midwestern cinema has attracted some of the most intriguing and groundbreaking filmmakers from around the world, screened the best in arthouse and repertory films, and presented innovative and unique cinematic experiences. Indiana University Cinema tells the story of how the cinema on the campus of Indiana University Bloomington grew into a vibrant, diverse, and thoughtfully curated cinematheque. Detailing its creation of a transformative cinematic experience throughout its inaugural decade, the IU Cinema has arguably become one of the best venues for watching movies in the country. Featuring 17 exclusive interviews with filmmakers and actors, as well as an afterword from Jonathan Banks (Breaking Bad and Better Call Saul), Indiana University Cinema, is a lavishly illustrated book that is sure to please everyone from the casual moviegoer to the most passionate cinephile.

Examines the personal life and the professional work and success of the director of "Pulp Fiction"

Wes Anderson is considered one of the most important directors of the post-Baby Boom generation, making films such as Rushmore (1998) and The Royal Tenenbaums (2001) in a style so distinctive that his films are often recognizable from a single frame. Through the travelogue The Darjeeling Limited (2007) and the stop-motion animation of Fantastic Mr. Fox (2009), his films examine issues of gender, race, and class through dysfunctional family dynamics, with particular focus on masculinity and male bonding. Anderson's auteur status is enriched by his fascination with Truffaut and the French New Wave, as well as his authorship of every one of his screenplays, drawing on influences as diverse as Mark Twain, J. D. Salinger, Roald Dahl, and Stefan Zweig. Works such as Moonrise Kingdom (2012) and The Grand Budapest Hotel (2014) continue to fascinate with their postmodern, hyper-nostalgic attention to detail. This book explores the filmic and literary influences that have helped make Anderson a major voice in 21st century "indie" culture, and reveals why Wes Anderson is one of the most inventive filmmakers working in cinema today.

Throughout the 1960s until her untimely death in 1974, Afro-Cuban filmmaker Sara Gómez engaged directly and courageously with the social, political, economic, and cultural transformations promised by the Cuban Revolution. Gómez directed numerous documentary films in 10 prolific years. She also made De cierta manera (One way or another), her only feature-length film. Her films navigate complex experiences of social class, race, and gender by reframing revolutionary citizenship, cultural memory, and political value. Not only have her inventive strategies become foundational to new Cuban cinema and feminist film culture, but they also continue to inspire media artists today who deal with issues of identity and difference. The Cinema of Sara Gómez assembles history, criticism, biography, methodology, and theory of Gómez's work in scholarly writing; interviews with friends and collaborators; the film script of De cierta manera; and a detailed and complete filmography. Featuring striking images, this anthology reorients how we tell Cuban cinema history and how we think about the intersections of race, gender, and revolution. By addressing Gómez's entire body of work, The Cinema of Sara Gómez unpacks her complex life and gives weight to her groundbreaking cinema.