National Network for Equitable Library Service

In Exception Taken, Jonathan Buchsbaum examines the movements that have emerged in opposition to the homogenizing force of Hollywood in global filmmaking. While European cinema was entering a steady decline in the 1980s, France sought to strengthen support for its film industry under the new Mitterrand government. Over the following decades, the country lobbied partners in the European Economic Community to design strategies to protect the audiovisual industries and to resist cultural free-trade pressures in international trade agreements.

Big Night (1996), Ratatouille (2007), and Julie and Julia (2009) are more than films about food-they serve a political purpose. In the kitchen, around the table, and in the dining room, these films use cooking and eating to explore such themes as ideological pluralism, ethnic and racial acceptance, gender equality, and class flexibility-but not as progressively as you might think. Feasting Our Eyes takes a second look at these and other modern American food films to emphasize their conventional approaches to nation, gender, race, sexuality, and social status.

From the fictional towns of Hill Valley, CA, and Shermer, IL, to the beautiful landscapes of Astoria and Brownsville, OR, from the iconic suburbs of the San Fernando Valley to the seemingly scary inner cities of Chicago, '80s teen movies had one thing in common: locations mattered. Perhaps moreso than in any other decade, the locations of the '80s teen movies were monumentally important. In Brat Pack America, Kevin Smokler gives virtual tours of your favorite movies while also picking apart why these locations are so important to these movies.

- Accompanying DVD of thirty short films offers an instructive mini film festival - Shows beginners how to make meaningful films without fancy equipment - Great for film students and independent filmmakers Want to make an art film, a documentary, a video biography' Here's how to create real movies using consumer digital video format'without spending a lot of money or time. Author Jim Piper has taught filmmaking for more than thirty years'and along with his technical expertise, he brings entertaining anecdotes and great examples.

Learn to turn a simple screenplay into a visual masterpiece! Top production designers share their real-life experiences to explain the aesthetic, narrative, and technical aspects of the craft. Step by step, aspiring filmmakers will discover sound instruction on the tools of the trade, and established filmmakers will enjoy a new outlook on production design.

roach for making the most of the rehearsal process With a commonsense approach, An Actor Rehearses takes performers through the rehearsal process and explains exactly what to do when. The actor's process is explained simply, sequentially, and in detail, starting from the period before rehearsals begin and continuing through first read-through, blocking rehearsals, technical rehearsals, and performances.

In Unspeakable Histories, William Guynn focuses on the sensation of encountering past events through film. Film is capable, he argues, of triggering moments of heightened awareness in which the barrier between the past and the present can fall and the reality of the past we thought lost can be momentarily rediscovered in its material being. In his readings of seven exceptional works depicting twentieth century atrocities, Guynn explores the emotional resonance that still adheres to traumatic historical events. Guynn considers dimensions of experience that historiography leaves untouched.

Ridley Scott's 1982 film Blade Runner is now widely recognized as an undisputed masterwork of science fiction cinema and one of the most influential films released in the last forty years. Yet on its original release it was both a critical and commercial failure, criticized for its perceived prioritizing of style over content and a narrative that did not deliver the anticipated high octane action that its star casting and large budget normally promise.

For many, Close Encounters of the Third Kind (CE3K) is not so much a movie as a religious experience. On its release in 1977, CE3K virtually redefined the science fiction film, shifting it away from spaceships, laser guns, and bug-eyed monsters into a modified form of science fiction that John Wyndham once called 'logical fantasy'.

What happens when we watch feature films or television dramas' Many of our responses to moving-image fiction texts embody "realism" or "truth," but what are we responding to, exactly, and how is our notion of reality or truth to be understood' For film and media students and makers of moving-image fiction in new digital forms, the question of how to get a more objective, rigorous handle on realism has never been more important.