Book review : Hollywood's copyright wars : from Edison to the internet by Decherney, Peter

Exploration of landmark court cases and decisions in the copyright debate in the US, from Edison's attempts to extend to the fledgling film industry copyright law designed to protect photographs, to the Hollywood studios' responses to copyright breaches, and fair use exemptions granted to media educators and others since 2006.

Sugar and spice: the golden age of the Hindi movie vamps, 1960s-70s

How do we define the globalized cinema and media cultures of Bollywood in an age when it has become part of the cultural diplomacy of an emerging superpower? Is it still an 'other' industry in a world dominated by Hollywood? Bollywood and Its Other(s) aims to compensate for the lack of scholarly literature on Indian film by opening up hitherto unexplored sites or sites that are in formation. It focuses on the aesthetic-philosophical questions of the other, Indian diaspora's negotiations with national identity, alternative reading strategies/research methods, marginal genres (sci-fi, horror), marginal characters (flaneuse, vamps), marginal gender (non-normative sexualities), marginal cinema (Hindi avant-garde), marginal language (Hinglish), and marginal regions (the Kashmir valley). It intends to address film scholars, South Asian studies researchers, cinephiles and lay readers alike.

Genre, gender and interpretation of movie trailers an exploratory study

Commercial movies cost tens of millions to make. Because they are now released on thousands of screens simultaneously, movie trailers are a major and necessary method of intensively promoting movies before they disappear from cinemas forever. Yet there is a paucity of research about how potential audiences react to these trailers. This study aimed at exploring consumers’ interpretations of movie trailers. Nineteen in-depth interviews were the means of data collection, using nine trailers for yet to be released movies from the romance/drama, action, comedy and thriller categories. Genre provided a focus for exploring consumers’ interpretations of movie trailers. Evaluative judgments of movies came first as a result of the value of genre to the consumer and then as a result of content which conveyed the movie would be involving relative to past movie experiences. Interpretations about the target audience for a movie were also influenced by assumptions that genre preferences differ according to gender. The findings pose implications for the construction of movie trailers.

Anglo-Indians in Hollywood, Bollywood and arthouse cinema

Apart from a few disparaging remarks about offensive stereotypes by Anglo-Indian writers and politicians such as Gloria Jean Moore, Frank Anthony and Gillian Hart, critics have paid very little attention to the representation of “mixed-race” Anglo-Indians in the cinema. Drawing on screen theory and recent theories of cinema spectatorship, this essay provides a comparative analysis of how Hollywood, Bollywood and arthouse films represent Anglo-Indians. More specifically, it analyses three paradigmatic films: Bhowani Junction (1956), Julie (1975), and 36 Chowringhee Lane (1981). Combining formal analysis of narrative structure, mise-en-scegravene and genre with historical analysis, the paper examines the ideological work performed by these texts, which use Anglo-Indians to dramatise specific political conflicts in India such as those generated by the British partition of India in 1947 and the more recent issue of globalisation.

Cinema of (coming) attractions : Bruce Conner's a movie and documentary display

Bruce Conner's film 'Movie' (1958) constructs an argument concerning popular media and history within and through a radical juxtaposition of images to release new and productive meanings. It also comments on the media's representation of history as violence and analyses the consequences of aggression and violence.

Rote movie

"On the voice over de Bruyn places himself behind the wheel of a car, an appropriate metaphor for his expatriate driven reflections on his feelings of exile, distance and loneliness. Necessarily unintelligent memories highlight habitual subjectivity of "walking through a landscape alone", "gypsy", "victim". Images of roadsigns, cars, billboards, the passing landscape; elegantly simple rotoscope (by rote?) drawings, recopied and texturally manipulated filmic images; the inevitability of the repetition of leader. A tired, yearning, moving film." http://www.innersense.com.au/mif/debruyn_films.html

How Hollywood projects foreign policy

The interactions between popular culture and public policy in general, and foreign policy in particular, have always been an important area of scholarly enquiry and popular interest. However with the end of the bipolar world system and the emergence of a single world superpower in the form of the United States of America, which is waging a War Against Terror, this nexus has become critical. This is especially true because of the almost Manichean tendency of the United States to see other countries in terms of "good" or "evil". Indeed President Bush himself has coined the term "The Axis of Evil" for states, which in a kinder age were simply referred to by his predecessors as being "Rogue States".

This book draws together elements from several academic disciplines - politics, international relations, psychology, film and cultural studies and examines US foreign policy toward the so-called "rogue states" and the products of the Hollywood film industry in relation to these states, which promises to make a significant contribution to our understanding of the 'soft power' that is popular culture.

The cinema of Kathryn Bigelow : Hollywood transgressor

Kathryn Bigelow has undoubtedly been one of Hollywood's most significant female players, well known in popular terms for films such as Point Breakand Blue Steel, yet relatively unexplored in academia. Soundbites about women and guns and speculation about the role of ex-husband James Cameron ( Aliens, Titanic) in her career have often helped obscure rather than elucidate an understanding of her work. This collection explores how Bigelow can be seen to provide a point of intersection to a whole range of issues at the forefront of contemporary film studies and of the transformation of Hollywood into a post-classical cinema machine, with a particular emphasis on her most ambitious and controversial picture, Strange Days. Her place within new Hollywood is as a filmmaker that blurs genre conventions, reinscribes gender identites, and produces a breathless cinema of attractions.

Hollywood flesh

John Forrest combined fact and fiction to produce this exhibitions 120  artworks, designed to depict Hollywoood.

Study of shot length and motion as contributing factors to movie tempo

This work seeks to lay the framework of film grammar over the video to be analyzed. We use the shot attributes of motion and shot length to produce a novel continuous measure of one of the aesthetic elements of films, namely the movie tempo. We refer to our previous work detailing the study of this construct and its automatic derivation, and also demonstrating its usefulness as an expressive element and as a sound basis for higher semantic descriptions such as dramatic events and story elements. Initial assessment of tempo was performed in our study on the basis that the relative importance of both shot length and motion in formulating the tempo function was the same. In this paper, we analyze their relative contributions to tempo, and demonstrate how these two factors can be manipulated to influence audience perception of movie time.

Situated event bootstrapping and capture guidance for automated home movie authoring

This paper describes a novel interactive media authoring framework, MediaTE, that enables amateurs to create videos of higher narrative or aesthetic quality with a completely mobile lifecycle. A novel event bootstrapping dialog is used to derive shot suggestions that yield both targetted footage and annotation enabling an automatic Computational Media Aesthetics-aware editing phase, the manual performance of which is typically a barrier to the amateur. This facilitates a move away from requiring a prior-conception of the events or locale being filmed, in the form of a template, to at-capture bootstrapping of this information. Metadata gathered as part of the critical path of media creation also has implications for the longevity and reuse of captured media assets. Results of an evaluation performed on both the usability and delivered media aspects of the system are discussed, which highlight the tenability of the proposed framework and the quality of the produced media.