Tricksters, hucksters and suckers: Jonsonian cinema

Woolland, B. Tricksters, Hucksters and Suckers: Jonsonian Cinema. In: Woolland, B. (ed.) Jonsonians: Living Traditions, Aldershot, England and Burlington, USA: Ashgate, 2003, .

Digital imaging in popular cinema

This book investigates the challenges that the presence of digital imaging within the cinematic frame can pose for the task of interpretation. Applying close textual analysis to a series of case studies, the book demystifies the relationship of digital imaging to processes of watching and reading films, and develops a methodology for approaching the digital in popular cinema. In doing so, the study places contemporary digital imaging practice in relation to historical traditions of filmmaking and special effects practice, and proposes a fresh, flexible approach the the close reading of film that can take appropriate account of the presence of the digital.

The new Brazilian cinema

In the second half of the 1990s, Brazil experienced a cinematic boom. Many of the new films were received enthusiastically by audiences and critics and released worldwide. This passionately argued and illuminating book provides the first comprehensive critical account of what is known as the 'Renaissance of Brazilian cinema' and demonstrates just how thought-provoking and inspiring Brazilian cinema has become. Contributors: José Carlos Avellar - Ivana Bentes - Stephanie Dennison - Verônica Ferreira Dias - Carlos Diegues - Amir Labaki - Maria Esther Maciel - José Álvaro Moisés - Laura Mulvey - Lúcia Nagib - Luiz Zanin Oricchio - Fernão Pessoa Ramos - Lisa Shaw - Robert Stam - João Luiz Vieira - Ismail Xavier.

A utopia no Cinema Brasileiro: matrizes, nostalgia, distopias

This book studies the ressurgence of the utopian gesture in Brazilian Cinema from the mid-1990s onwards, as well as its variations and negations. The analysis identifies trajectories of rise and fall, which reflect oscillations in the political scenario, and includes a retrospective look at utopian traditions of the Brazilian cinematic past, in turn derived from the nation's foundational myths. At the same time, it considers the ways in which recent Brazilian film production transcends Cinema Novo's national project to interacts with modern, postmodern and commercial cinemas of the world, thus benefiting from and contributing to a new transnational cinematic aesthetics.