... anarchism of Proudhon, Bakunin, and Kropotkin. The book focuses on links between anarchist self-activity and films that not only reflect, but often actively promote, workplace resistance, anarchist pedagogy, and anti-statist insurrections. It also broadens the definition of “anarchist cinema” to include...

...This chapter examines cinema's representation of anarchist heroes, martyrs, and fleeting revolutionary moments, formulating a critique of mainstream socialism that is far from the banalities of bourgeois sociology. Two films, Bo Widerberg's Joe Hill (1971) and Giuliano Montaldo's...

...Jeff Kanew’s cinema verité documentary, Black Rodeo, is the focus of this chapter. On September 4, 1971, at Randall’s Island Park in New York City, a bronco-busting, bull-riding rodeo, complete with a traditional Wild West show, took place. But this was not an ordinary rodeo. It was unlike most...

... the performativity of gender and undermine its assumed natural existence. Cool Hands, Warm Heart connects performance art to experimental cinema, while Scar Tissue defines Friedrich’s distinctive rhythmic editing. Gently Down the Stream established Friedrich among the foremost important experimental filmmakers...

..., have participated significantly in subsuming Mexican and Chicano spaces in the configuration of Latino identities in United States and mainly Hollywood cinema. The chapter then argues that all the manipulations and appropriations labeled Hispanic or Latino are not simply imposed or created...

... a lasting influence in Chinese cinema. The chapter first provides an overview of the theoretical and historical underpinnings of the word “vernacular” as well as the cultural essentialist aspects of the martial arts films. It then considers the local as the site of irreducible heterogeneity that enabled...

...This chapter examines the early sound period. From a formal perspective, the dominant film style has an affinity with silent cinema; it is filled with superimpositions, extended dissolves, elaborate optical effects, and a wide range of “attractions.” Consequently, the films of this period rely...

...This chapter argues that in the mid-1930s, American cinema perfected a classical form that dominated till the end of the decade. This form arose out of a new convergence between lifestyle and film style: in ideological terms, the period supported normative and traditional images of femininity...

...This chapter presents a commentary on John Sayles' film career. Sayles has long been referred to as America's leading independent filmmaker. More recently, he has been called both the grandfather and the godfather of American independent cinema. The press has also described Sayle's as a realist...

... Otis Shake! Otis at Monterey Shankar Ravi Woodstock Cleaver Eldridge Godard Jean Luc Gorin Jean Pierre Langlois Henri One P M PBS network One A M Torn Rip D. A. Pennebaker documentary filmmaking filmmakers direct cinema interviews Documentary Film Institute The following interview...

... but an unaccounted theatrical practice that reveals a different way of thinking about and relating to the cinema. It contends that Bernhardt's films challenge and change received ideas about what is and is not “cinematic”. Finally, it describes Bernhardt's film, with her as a protagonist, as a fluid...

...This chapter examines the 1912 feature film Queen Elizabeth as a reflection of Sarah Bernhardt's roles in the late nineteenth century and her insistence that these could remain relevant to audiences in the twentieth century. In histories of the cinema, Queen Elizabeth...

...The early cinema of attractions evidences a capacity for generating unruly and multivalent forms of erotic attraction and visual pleasure, even as it also registers transformations in sexual knowledge and experiences of embodied desire and erotic identity. The chapter argues that attempts in early...

...This introductory chapter discusses how Germaine Dulac played a groundbreaking role in the evolution of the cinema both as art and social practice. Over the course of her film career (1915–42), Dulac directed more than thirty fiction films, many marking new cinematic tendencies, from Impressionist...

...This book examines film history with the goal of reframing it to accommodate new approaches to women's filmmaking. It brings together a wide range of case studies investigating women's work in cinema across its histories as they play out in different parts of the world from the pioneering days...

... in American cinema for ten years, then worked in British films for six or more years, and moved to work in French films at the start of the talkies. The fact that she had almost disappeared from dominant film history narratives says much about how women filmmakers have been allowed to slip out of the history...

... then considers how the enforced depoliticization introduced in Turkey after the 1980 coup opened up a space for feminist concerns to be expressed within commercial cinema. It also shows how this political context gave rise to the newly humanized, more independent heroine that characterized Turkish cinema during...

...This chapter examines the role of film and cinema as a force in women's lives by focusing on women as cinema audiences. More specifically, it considers the experiences of a modern-day group of women who patronize and actively support the First Avenue Cinema, a 1950s single-screen film theater...

...—which can be viewed as currently in its “transitional” period, much as cinema “transitioned” in the 1910s. Armatage Kay HD transmissions of live opera Satyagraha Sweete Barbara Willis women’s work in cinema Bruno Giuliana credit s director the film history women’s woman audience s cinema...

... Bradbury's life in both Venice Beach and downtown Los Angeles, as well as his experiences during the so-called Pachuco riots of June 1943. It also considers how Bradbury's passion for the cinema led him to discover new influences on his writing, including the informal writing group sponsored by mystery...