Cinema frequently depicts various types of work, but this representation is never straightforward. It depends on and reflects many factors, especially the place and time the film is made and the type of audience it addresses. Here, the contributors employ transnational and transhistorical perspectives to compare filmic depictions of work.

Industriële films worden gezien als een apart filmgenre van de twintigste eeuw. Ze werden geproduceerd en gesponsord door de overheid en grote bedrijven en moesten vooral aan de wensen van de sponsors voldoen, en niet zo zeer aan die van de filmmakers. In de hoogtijdagen werkten er duizenden mensen aan deze industriële films. Zo zijn er vakbladen en filmfestivals ontstaan door samenwerking met grote bedrijven als Shell en AT & T. Daarnaast hebben belangrijke regisseurs, zoals Buster Keaton, John Grierson en Alain Resnais, aan deze films meegewerkt. Toch lijkt de industriële film geen spoor te hebben achtergelaten in het filmische culturele discours. Films that Work is het eerste boek waarin de industriële film en zijn opmerkelijke geschiedenis worden onderzocht.

From hairdressers and caregivers to reproductive workers and power-suited executives, images of women's labor have powered a fascinating new movement within twenty-first century European cinema. Social realist dramas capture precarious working conditions. Comedies exaggerate the habits of the global managerial class. Stories from countries battered by the global financial crisis emphasize the patriarchal family, debt, and unemployment. Barbara Mennel delves into the ways these films about female labor capture the tension between feminist advances and their appropriation by capitalism in a time of ongoing transformation. Looking at independent and genre films from a cross-section of European nations, Mennel sees a focus on economics and work adapted to the continent's varied kinds of capitalism and influenced by concepts in second-wave feminism. More than ever, narratives of work put female characters front and center--and female directors behind the camera. Yet her analysis shows that each film remains a complex mix of progressive and retrogressive dynamics as it addresses the changing nature of work in Europe.

(Applause Books). A life in the movies has been an American dream for a century. Many people dream of becoming Hollywood professionals, but either aim too high (by trying to produce their own feature film) or too low (by hanging around restaurants frequented by movie stars) and end up frustrated. Wouldn't it be great if someone who knew what to do, someone who had achieved acclaim in the field, would walk us through the steps to success? At last, here is a book by a seasoned movie and television professional, Emmy winner Sandra Gordon, that is filled with practical, yet highly effective ways to build a career in entertainment. Gordon calls upon her own experience working on the television series PARTY OF FIVE, the movie RUDY and many more. There are many books that teach job-seekers how to write resumes or ace interviews, but not many books like ACTION! Uniquely designed for individuals who are interested in a career in the entertainment industry, whether they are recent college graduates or middle-aged career changers, ACTION! takes the formula out of the job-hunting book to the next step, telling its readers not only how to write their resumes, but where to send them, how to keep their jobs once they are hired, and how to advance in their career.

By analysing the work of seven classic film stars including Cary Grant and Marlene Dietrich, the author explores the techniques and theory of acting for the big screen.

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.

This volume offers introductions to the work of fifteen avant-garde American women filmmakers.