Film History.
Overview
| Works: | 211 works in 54 publications in 54 languages | |
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Titles
Dislocated screen memory = narrating trauma in Post-Yugoslav cinema /
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British TV comedies = cultural concepts, contexts and controversies /
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Lasting screen stars = images that fade and personas that endure /
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Urban film and everyday practice = bridging divisions in Johannesburg /
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The truth about Fania Fenelon and the women's orchestra of Auschwitz-Birkenau
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Women, collective creation, and devised performance = the rise of women theatre artists in the twentieth and twenty-first centuries /
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The British official film in South-East Asia = Malaya/Malaysia, Singapore and Hong Kong /
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The Shawshank experience = tracking the history of the world's favorite movie /
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Australian film festivals = audience, place, and exhibition culture /
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Cuban film media, late socialism, and the public sphere = imperfect aesthetics /
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W.C. Fields from the Ziegfeld Follies and Broadway stage to the screen = becoming a character comedian /
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Reassessing the Hitchcock touch = industry, collaboration, and filmmaking /
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Domestic imaginaries = navigating the home in global literary and visual cultures /
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Women in European Holocaust films = perpetrators, victims and resisters /
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The absent mother in the cultural imagination = missing, presumed dead /
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Formations of masculinity in post-communist Hungarian cinema = labyrinthian men /
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Visible and invisible whiteness = American white supremacy through the cinematic lens /
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Cecil B. DeMille, classical Hollywood, and modern American mass culture = 1910-1960 /
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Researching newsreels = local, national and transnational case studies /
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International cinema and the girl = local issues, transnational contexts /
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Today's sounds for yesterday's films = making music for silent cinema /
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Digital humanities and film studies = visualising Dziga Vertov's work /
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The Great War in Popular British Cinema of the 1920s = Before Journey's End /
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Thinking Through Digital Media = Transnational Environments and Locative Places /
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European Cinema and Television = Cultural Policy and Everyday Life /
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Global Melodrama = Nation, Body, and History in Contemporary Film /
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The US-Mexico Border in American Cold War Film = Romance, Revolution, and Regulation /
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The Revolting Child in Horror Cinema = Youth Rebellion and Queer Spectatorship /
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The Cognitive Impact of Television News = Production Attributes and Information Reception /
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Taking Fame to Market = On the Pre-History and Post-History of Hollywood Stardom /
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Screening Post-1989 China = Critical Analysis of Chinese Film and Television /
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A History of 1970s Experimental Film = Britain's Decade of Diversity /
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Storytelling in the Media Convergence Age = Exploring Screen Narratives /
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Literature, Film, and Their Hideous Progeny = Adaptation and ElasTEXTity /
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The Literary and Linguistic Construction of Obsessive-Compulsive Disorder = No Ordinary Doubt /
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Spectatorship, Embodiment and Physicality in the Contemporary Mutilation Film
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Black Magic Woman and Narrative Film = Race, Sex and Afro-Religiosity /
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Hybrid Heritage on Screen = The ‘Raj Revival’ in the Thatcher Era /
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Educational Institutions in Horror Film = A History of Mad Professors, Student Bodies, and Final Exams /
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Besides the Screen = Moving Images through Distribution, Promotion and Curation /
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Defiant Itineraries = Caribbean Paradigms in American Dance and Film /
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Discovering Short Films = The History and Style of Live-Action Fiction Shorts /
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Movie Towns and Sitcom Suburbs = Building Hollywood’s Ideal Communities /
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The Search for Meaning in Film and Television = Disenchantment at the Turn of the Millennium /
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American Political Fictions = War on Errorism in Contemporary American Literature, Culture, and Politics /
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The Post-2000 Film Western = Contexts, Transnationality, Hybridity /
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Women and Domestic Space in Contemporary Gothic Narratives = The House as Subject /
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Therapy and Emotions in Film and Television = The Pulse of Our Times /
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Today's Sounds for Yesterday's Films = Making Music for Silent Cinema /
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Screen Hustles, Grifts and Stings = Stings, Grifts, Hustles and the Long Con /
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The British Official Film in South-East Asia = Malaya/Malaysia, Singapore and Hong Kong /
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Urban Film and Everyday Practice = Bridging Divisions in Johannesburg /
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British TV Comedies = Cultural Concepts, Contexts and Controversies /
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Jack the Ripper in Film and Culture = Top Hat, Gladstone Bag and Fog /
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Memory in the Twenty-First Century = New Critical Perspectives from the Arts, Humanities, and Sciences /
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Return to Twin Peaks = New Approaches to Materiality, Theory, and Genre on Television /
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W.C. Fields from the Ziegfeld Follies and Broadway Stage to the Screen = Becoming a Character Comedian /
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Disruptive Feminisms = Raced, Gendered, and Classed Bodies in Film /
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Dislocated Screen Memory = Narrating Trauma in Post-Yugoslav Cinema /
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(Language materials, printed)
International Cinema and the Girl = Local Issues, Transnational Contexts /
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(Language materials, printed)
Lasting Screen Stars = Images that Fade and Personas that Endure /
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(Language materials, printed)
The Shawshank Experience = Tracking the History of the World’s Favorite Movie /
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(Language materials, printed)
Magical Thinking, Fantastic Film, and the Illusions of Neoliberalism
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Women, Collective Creation, and Devised Performance = The Rise of Women Theatre Artists in the Twentieth and Twenty-First Centuries /
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Hand-Made Television = Stop-Frame Animation for Children in Britain, 1961-1974 /
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Australian Film Festivals = Audience, Place, and Exhibition Culture /
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Cuban Film Media, Late Socialism, and the Public Sphere = Imperfect Aesthetics /
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(Language materials, printed)
The Truth about Fania Fénelon and the Women’s Orchestra of Auschwitz-Birkenau
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(Language materials, printed)
Digital Humanities and Film Studies = Visualising Dziga Vertov's Work /
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(Language materials, printed)
Researching Newsreels = Local, National and Transnational Case Studies /
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(Language materials, printed)
Cecil B. DeMille, Classical Hollywood, and Modern American Mass Culture = 1910–1960 /
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(Language materials, printed)
Visible and Invisible Whiteness = American White Supremacy through the Cinematic Lens /
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Premodern Rulers and Postmodern Viewers = Gender, Sex, and Power in Popular Culture /
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In Search of Marie-Antoinette in the 1930s = Stefan Zweig, Irving Thalberg, and Norma Shearer /
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East Asian Transwar Popular Culture = Literature and Film from Taiwan and Korea /
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Eastern Europeans in Contemporary Literature and Culture = Imagining New Europe /
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Filme über Vernichtung und Befreiung = Die Rhetorik der Filmdokumente aus Majdanek 1944-1945 /
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The American Roadside in Émigré Literature, Film, and Photography = 1955–1985 /
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Cinema and the Algerian War of Independence = Culture, Politics, and Society /
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Mapping Movie Magazines = Digitization, Periodicals and Cinema History /
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Performative Figuren queerer Männlichkeit = Eine Mediengeschichte von Film und Kino in Deutschland bis 1945 /
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Charting Scottish Tourism and the Early Scenic Film = Access, Identity and Landscape /
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The Great War in American and British Cinema, 1918–1938 = Art Amidst the Ashes /
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A Cultural History of the Disney Fairy Tale = Once Upon an American Dream /
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Kinematografie der Erinnerung = Band 1: Filme als kollektives Gedächtnis verstehen /
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Deutschsprachige Kinder- und Jugendliteratur im Medienverbund 1900-1945
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Bernard Shaw and the Censors = Fights and Failures, Stage and Screen /
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Barra and Zaman: Reading Egyptian Modernity in Shadi Abdel Salam’s The Mummy
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Fernsehwissenschaft und Serienforschung = Theorie, Geschichte und Gegenwart (post-)televisueller Serialität /
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Kinematografie der Erinnerung = Band 2: Den Zweiten Weltkrieg erzählen /
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Yves Montand in the USSR = Cultural Diplomacy and Mixed Messages /
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Generations of Jewish Directors and the Struggle for America’s Soul = Wyler, Lumet, and Spielberg /
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The Untold Story of the Korean Film Industry = A Global Business and Economic Perspective /
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Films of Arab Loutfi and Heiny Srour = Studies in Palestine Solidarity Cinema /
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