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Dear FILM-PHILOSOPHY Subscribers, I hope the following titles will be of interest to you: Masculine Singular French New Wave Cinema Geneviève Sellier Translated by Kristin Ross "This remarkable book will change readers' view of New Wave cinema. Geneviève Sellier approaches this key movement in French cinema from an original perspective, developing a nuanced yet incisive argument about the links between masculinity, auteurism, and filmic representations."-Ginette Vincendeau, author of Jean-Pierre Melville: An American in Paris "Thanks to this unwavering translation, Geneviève Sellier's bracing exposé has stripped the New Wave of its stylish attire to reveal an unappealing male body. Vigilant and determined, she has trolled a sea of French criticism to net her evidence."-Dudley Andrew, Yale University Masculine Singular is an original interpretation of French New Wave cinema by one of France's leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema's formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they "wrote" in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema. Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers' focus on gender relations, Sellier reflects on the careers of New Wave's iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier's thorough exploration of early New Wave cinema culminates in her contention that its principal legacy-the triumph of a certain kind of cinephilic discourse and of an "auteur theory" recognizing the director as artist-came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema's modernity was accompanied by an association of creativity with masculinity. http://www.dukeupress.edu/cgibin/forwardsql/search.cgi?template0=nomatch.htm&template2=books/book_detail_page.htm&user_id=112845310944&Bmain.item_option=1&Bmain.item=16186 Duke University Press March 2008 272pp £15.99 PB 978-0-8223-4192-5 SPECIAL DISCOUNTED PRICE OF £11.50 to FILM-PHILOSOPHY Subscribers Postage and Packing £2.75 (PLEASE QUOTE REF NUMBER: FG281108MS for discount) To order a copy please contact Marston on 44(0)1235 465500 or email [log in to unmask] or visit our website www.combinedacademic.co.uk German Film after Germany Toward a Transnational Aesthetic Randall Halle An analysis of the transformation from a national to transnational film industry in Europe This complex, elegantly argued book addresses the production, distribution, and reception of 'German' films in an era of international coproductions and nascent European nationalism. . . . Recommended."--Choice "Through his breadth, originality, and 'nose' for ongoing transitions in culture and cinema, Halle provides a much-needed overview of the complex funding ensembles existing in and beyond Germany today. German Film after Germany fills a critical gap in film studies by expertly weaving together economic and aesthetic forces in its analysis."--Linda Schulte-Sasse, author of Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema "This ambitious book offers a fresh, engaging perspective on distinctive transnational media developments in Western Europe over the last twenty years. Halle recounts in detail how recent economic, political, and linguistic trends have substantially altered the practices of cinema production, distribution, and consumption. His analysis of the multifaceted globalized media emerging in Germany should interest scholars in media studies, political science, sociology, and cultural history, as well as German studies."--Ramona Curry, author of Too Much of a Good Thing: Mae West as Cultural Icon What is the work of film in the age of transnational production? To answer that question, Randall Halle focuses on the film industry of Germany, one of Europe's largest film markets and one of the world's largest film-producing nations. In the 1990s Germany experienced an extreme transition from a state-subsidized mode of film production that was free of anxious concerns about profit and audience entertainment to a mode dominated by private interest and big capital. At the same time, the European Union began actively drawing together the national markets of Germany and other European nations, sublating their individual significances into a synergistic whole. This book studies these changes broadly, but also focuses on the transformations in their particular national context. It balances film politics and film aesthetics, tracing transformations in financing along with analyses of particular films to describe the effects on the film object itself. Halle concludes that we witness currently the emergence of a new transnational aesthetic, a fundamental shift in cultural production with ramifications for communal identifications, state cohesion, and national economies. http://www.press.uillinois.edu/books/catalog/36dmf7kw9780252033292.html University of Illinois Press July 2008 248pp 6 x 9 inches £17.99 PB 978-0-252-07538-4 SPECIAL DISCOUNTED PRICE OF £12.50 to FILM-PHILOSOPHY Subscribers Postage and Packing £2.75 (PLEASE QUOTE REF NUMBER: FP281108GG for discount) To order a copy please contact Marston on 44(0)1235 465500 or email [log in to unmask] or visit our website www.combinedacademic.co.uk China Forever The Shaw Brothers and Diasporic Cinema Edited by Poshek Fu The transnational history and cultural politics of the Shaw Brothers' movie empire "This instructive book will be a pleasure for seasoned scholars and amateurs of Hong Kong cinema alike. Extremely useful for Asian cinema courses, this first book-length study of the Shaw Brothers--who were pioneers in the Chinese language and trans-Asian commercial film industry--provides valuable cultural history and global context."--Tonglin Lu, author of Confronting Modernity in the Cinemas in Taiwan and Mainland China "An impressive, in-depth inquiry into the historical mutations, cultural innovations, and political implications of the rise and development of the Shaw Brothers' movie empire. Of the many volumes on Hong Kong movie industries, this is the first to focus solely on the history of the Shaw Brothers."--David Der-wei Wang, author of The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China Started in Shanghai in the 1920s, the legendary Shaw Brothers Studio began to dominate the worldwide Chinese film market after moving its production facilities to Hong Kong in 1957. Drawing together scholars from such diverse disciplines as history, cultural geography, and film studies, China Forever addresses how the Shaw Brothers raised the production standards of Hong Kong cinema, created a pan-Chinese cinema culture and distribution network, helped globalize Chinese-language cinema, and appealed to the cultural nationalism of the Chinese who found themselves displaced and unsettled in many parts of the world during the twentieth century. http://www.press.uillinois.edu/books/catalog/87gmg8en9780252032738.html University of Illinois Press July 2008 272pp 6 x 9 inches £17.99 PB 978-0-252-07500-1 SPECIAL DISCOUNTED PRICE OF £12.50 to FILM-PHILOSOPHY Subscribers Postage and Packing £2.75 (PLEASE QUOTE REF NUMBER: FP281108CF for discount) To order a copy please contact Marston on 44(0)1235 465500 or email [log in to unmask] or visit our website www.combinedacademic.co.uk Lowering the Boom Critical Studies in Film Sound Edited by Jay Beck and Tony Grajeda Amplifying the importance of sound in cinema "A central text for the study of sound in media. Lowering the Boom's wide range of topics joins history and critical debates and will be useful and appealing to scholars and students of sound design, media studies, and film theory."--Donald Crafton, author of The Talkies: American Cinema's Transition to Sound, 1926-1931 "A substantial and important book, Lowering the Boom includes work from both established scholars and emerging voices in the field and is a welcome addition to auditory culture and sound studies."--Steve J. Wurtzler, author of Electric Sounds: Technological Change and the Rise of Corporate Mass Media As the first collection of new work on sound and cinema in over a decade, Lowering the Boom addresses the expanding field of film sound theory and its significance in rethinking historical models of film analysis. The contributors consider the ways in which musical expression, scoring, voice-over narration, and ambient noise affect identity formation and subjectivity. Lowering the Boom also analyzes how shifting modulation of the spoken word in cinema results in variations in audience interpretation. Introducing new methods of thinking about the interaction of sound and music in films, this volume also details avant-garde film sound, which is characterized by a distinct break from the narratively based sound practices of mainstream cinema. This interdisciplinary, global approach to the theory and history of film sound opens the eyes and ears of film scholars, practitioners, and students to film's true audio-visual nature. Contributors are Jay Beck, John Belton, Clark Farmer, Paul Grainge, Tony Grajeda, David T. Johnson, Anahid Kassabian, David Laderman, James Lastra, Arnt Maasø, Matthew Malsky, Barry Mauer, Robert Miklitsch, Nancy Newman, Melissa Ragona, Petr Szczepanik, Paul Théberge, and Debra White-Stanley. http://www.press.uillinois.edu/books/catalog/25hyd9we9780252033230.html University of Illinois Press July 2008 336pp 6.125 x 9.25 inches £17.99 PB 978-0-252-07532-2 SPECIAL DISCOUNTED PRICE OF £12.50 to FILM-PHILOSOPHY Subscribers Postage and Packing £2.75 (PLEASE QUOTE REF NUMBER: FP281108LB for discount) To order a copy please contact Marston on 44(0)1235 465500 or email [log in to unmask] or visit our website www.combinedacademic.co.uk Clare Cottrell Marketing Assistant Combined Academic Publishers 15a Lewin's Yard East Street Chesham Buckinghamshire HP5 1HQ Phone: ++44 (0)1494 581 601 Fax: ++44 (0)1494 581 602 Email: [log in to unmask] * * Film-Philosophy salon After hitting 'reply' please always delete the text of the message you are replying to. 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