Surrealism was a broad movement, which attracted many adherents. It was organized and quite strictly disciplined, at least until the death of its leader, André Breton, in 1966. As a consequence, its membership was in a constant state of flux: persons were constantly being admitted and excluded, and often the latter continued to regard themselves as Surrealists. The wide-ranging nature of the Surrealist movement was spread over many countries and many different art forms, including painting, sculpture, cinema, photography, music, theater, and literature, most notably poetry. The Historical Dictionary of Surrealism relates the history of this movement through a chronology, an introductory essay, a bibliography, and over 600 cross-referenced dictionary entries on persons, circles, and groups who participated in the movement; a global entry on some of the journals and reviews they produced; and a sampling of major works of art, cinema, and literature.

Ryerson University in hosting a symposium entitled The New Paragone: The Cinema and Vanguard Art Movements . Inspired by Harmony & Dissentthe 3-day symposium examines Elder's startling claims about the influence of early cinema on avant-garde art movements. There will be panel discussions with key figures in visual art and film, screenings, and a book launch. Visit the Symposium website for more details.R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape.To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernity's cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of "pneumatic (spiritual) epistemology." Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, "objectless" (non-representational) art and Russian Suprematism, Constructivism, and Productivism.

Vol. 2 : Criticism–Ideology. - 412 p.

This hands-on project guide is devoted to demonstrating how you can use two of the most indispensable content creation tools--After Effects and Photoshop--together to produce animations and effects on the desktop.

Uncovering a treasure trove of Italian films from The Leopard to Puma Man - Italian filmmakers have created some of the most magical and moving, violent and controversial films in world cinema. During its twentieth-century heyday, Italy's film industry was second only to Hollywood as a popular film factory, exporting cinematic dreams worldwide. With international finance and multinational stars, Italian filmmakers tackled myriad genres with equal gusto and in inimitable style. Cinema Italiano is the first book to discuss comprehensively both Italian 'popular' and 'arthouse' cinema of this golden age. Appraising over 400 movies, Cinema Italiano unearths the best of Italian cinema. Dario Argento's 'gialli' thrillers and Sergio Leone's spaghetti westerns are explored longside the best films of Luchino Visconti, Federico Fellini, Pier Paolo Pasolini and Michelangelo Antonioni. hapters discuss the rise and fall of genres such as mythological epics, gothic horrors, cience-fiction, spy films, war movies, costume adventures, zombie films, swashbucklers, political cinema, spaghetti westerns and 'poliziotteschi' crime films. The book also traces the directorial careers and key films of such luminaries as Mario Bava, Sergio Corbucci, Francesco Rosi, Lucio Fulci, Duccio Tessari, Enzo G. Castellari, Bernardo Bertolucci and Gillo Pontecorvo. An essential guide for DVD and video collectors and aficionados alike, it is illustrated throughout with rare stills and international posters from this revered era in world cinema.

Vol. 2 : Directors. - 1324 p.

Th ere are many people that I would like to acknowledge. Th is book was made possible with the generous support of a number of institutions — and more specifi cally the individuals that work in them: Judy Janec, Director of Library and Archives Holocaust Center of Northern California; Tina Minh, at the USC Shoah Foundation Institute; and Edyta Chowaniec, chief audio-visual archivist at the Auschwitz-Birkenau Memorial and Museum. Th ere are a couple of fi lmmakers that have been quite generous with me sharing their work, and providing me with supporting material. Elida Schogt generously (and very promptly) supplied me with reviews of her trilogy of fi lms — Silent Song (2001), The Walnut Tree (2000), and Zyklon Portrait (1999). Abraham Ravett — who made Everything’s For You (1989), and The March (1999) — was also very generous. Nina Koocher kindly provided me with a DVD of her 2007 fi lm How Much to Remember: One Family’s Conversation with History. Likewise, some of my fellow researchers have been quite generous as well. I would like to especially thank Joshua Hirsch. I would also like to thank Griselda Pollock and Max Silverman for inviting me to their seminar series, “Concentrationary Imaginaries: The Politics of Representation,” at the University of Leeds. Th is presentation was instrumental in developing the ideas found in exploitation and horror chapters in this book. Griselda, you continue to be an inspiration to me, and I only hope to be as productive and engaged as you are. I would also like to thank Francesco Ventrella for organizing my trip, and even helping to spring me from detention, aft er being detained by British Customs Agents at Gatwick. A number of my colleagues have also been instrumental in shaping the book — Julian Hoxter, Randy Rutsky, Tarek Elhaik, and Bill Nichols. Julian was especially helpful in bouncing ideas off of. I am deeply indebted to Chi-Hui Yang who read an early version of the book and helped to shape it. To my family: I thank you for your patience. Ariel, Daddy can come out to play now. “And now, let the wild rumpus start!”

Even before Norma Jeane Baker changed her name to Marilyn Monroe, she began her passionate and enduring love affair with the camera. In the summer of 1945, while employed in an aircraft factory, she was selected to model for photographs to promote the war effort. The rest, as they say, is history. Her unparalleled relationship with the camera was one in which each partner was equally enamored with the other, and it lasted nearly twenty years. The full dimensions of that affair are superbly captured here for the first time. An unsurpassed photographic chronicle, Marilyn Monroe and the Camera brings together the most beautiful and unusual Marilyn Monroe photographs available – the early assignments for advertising and pinups, the film and publicity stills, the classic portraits by such notable photographers as Richard Avedon, Philippe Halsman, Cecil Beaton, and Bert Stern, the paparazzi shots from the hordes of photographers who followed her every move. These entrancing images provide a lavish and extraordinary tribute to the life of America’s legendary movie star.

There are a number of people who deserve thanks: Rhoda Himmel Mazur, my mother, who introduced me to old “classic” films, and Marvin Irwin Mazur, my father (Z’’L), who would see any film as long as my mother told him that it was a “musical comedy”; Jody Risa Mazur, my sister, who lent me a variety of materials (often without her remembering); Lillian Weintraub, my aunt (Z’’L), who sent me articles on religion and film from the time I started graduate school until her death in 2008; Bill Mandel, annual host of the seasonal “Mandel Bijou”; Benton Knight (who dragged me to see Be My Bloody Valentine ) and Scott Baradell (who dragged me to see C.H.U.D. ); Robin Alperstein and the editorial staff of The Declaration (at the University of Virginia, way back in 1986–1987), who published “Reel to Reel,” a movie review column I coauthored with Scott Baradell, which was based on the work of Gene Siskel and Roger Ebert (only funny, and in print); and of course Claudia Anne Mazur, my wife, who has humored me when I have insisted that we watch any number of questionable films with the declaration that “it’s for work, dear.” To all of these people, I say thank you. You have encouraged—or at least tolerated—my often childish musings about film, and I think that with thisvolume, I have become both better educated and humbled by my professional digression into this field. I also want to thank Lynn Malloy Aranjo—whom I barely knew—and Rob (“RobRobRob”) Kirkpatrick—whom I know a bit better—for letting me pitch the idea of the encyclopedia to Greenwood in the first place. Rob was particularly patient as I worked out a number of the details, and for that I am grateful. And yes, Rob, you were right; the entry on Krzysztof Kies´ lowski is dedicated to you. Thanks also to Debra Adams, who saw the project through its hardest stretch, and Mariah Gumpert at ABC-CLIO, who provided the last bit of energy and assistance needed to get it all finished. If patience is a virtue, you are all saints. I must also thank the hard-working people in the Interlibrary Loan office at the Ellen Clarke Bertrand Library of Bucknell University, particularly Candice Hinckley, who worked tirelessly locating many of the materials listed in the bibliography. Without knowing it, they helped me forget the difference, if only for a moment, between a large research institution and a relatively small teaching college. A special thanks also to Julia Miller (Bucknell ’08) and Stephanie Johnson (Virginia Wesleyan College ’11) for their dedicated filmographic work, and Brittany Hayes (Virginia Wesleyan College ’12) for her fact-checking. Contributor Melanie J. Wright passed away just as this project was going into its final production. She was a friendly colleague and an insightful scholar in many fields, but particularly in the study of religion and film. She will be missed. I would also like to thank all of the contributors, particularly those who got their entries in on time and according to style. You are a very talented bunch of scholars and critics, and I have enjoyed reading all that you’ve sent me. I hope you like what I’ve done with your work!