Here are 100 books that Screening Nostalgia fans have personally recommended if you like
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I am a film buff and history nerd who has brought her two passions together in the study of history on screen. So much of what we know is shaped by what we watch. It is crucial that we don’t dismiss historical TV shows and films as mere entertainment and instead work to understand how history is constructed and represented on screen. I have spent my postgraduate career exploring the screen’s unique capabilities for telling historical stories. I received my PhD from the University of Auckland and currently teach film studies at Media Design School, Aotearoa’s leading digital creativity tertiary provider.
Robert Rosenstone is thehistory on film guru and a big reason why I chose to pursue this line of research. Reading his work as an undergraduate was incredibly refreshing: not only was his writing was clear and accessible, but the book showed me that there was a different way to approach history. Rosenstone presents the reader with persuasive arguments about the ability of film to do history. His discussion of the films Gloryand Mississippi Burning as examples of true and false invention particularly sparked my interest. Although Rosenstone has written and edited many books on the subject, Visions of the Pastremains my favourite.
Can filmed history measure up to written history? What happens to history when it is recorded in images, rather than words? Can images convey ideas and information that lie beyond words? Taking on these questions, Robert Rosenstone offers a direction in the relationship between history and film. Rosenstone moves beyond traditional approaches, which examine the history of film as art and industry, or view films as texts reflecting their specific cultural contexts. This essay collection makes a venture into the investigation of a concern: how a visual medium, subject to the conventions of drama and fiction, might be used as…
I am a film buff and history nerd who has brought her two passions together in the study of history on screen. So much of what we know is shaped by what we watch. It is crucial that we don’t dismiss historical TV shows and films as mere entertainment and instead work to understand how history is constructed and represented on screen. I have spent my postgraduate career exploring the screen’s unique capabilities for telling historical stories. I received my PhD from the University of Auckland and currently teach film studies at Media Design School, Aotearoa’s leading digital creativity tertiary provider.
As indicated by the title, Landsberg’s book considers not just historical feature films, but alternative forms of screened history including TV serials, reality TV shows, and websites. Each chapter includes concise yet compelling case studies of texts such as Hotel Rwanda, Mad Men, and Frontier House. Unsurprisingly—given the focus of my own book—I was drawn to the section on dramatic TV shows and her discussion and definition of “historically conscious dramas.” Landsberg meticulously explains how audiences engage with the past through mass culture and, unlike many history on film scholars, pays considerable attention to the formal elements of filmmaking such as sound and editing.
Reading films, television dramas, reality shows, and virtual exhibits, among other popular texts, Engaging the Past examines the making and meaning of history for everyday viewers. Contemporary media can encourage complex interactions with the past that have far-reaching consequences for history and politics. Viewers experience these representations personally, cognitively, and bodily, but, as this book reveals, not just by identifying with the characters portrayed. Some of the works considered in this volume include the films Hotel Rwanda (2004), Good Night and Good Luck (2005), and Milk (2008); the television dramas Deadwood, Mad Men, and Rome; the reality shows Frontier House,…
My eighth-grade teacher refused to believe I had read 12 books for extra credit in a semester or that works by Ernest Hemingway, Thomas Wolfe, Charles Dickens, and Alexandre Dumas were among them. She didn’t know that I had long loved reading, especially stories set in the past of distant lands. In the tenth grade, I declared myself a writer, but only after earning a PhD in history did the hunger to write historical stories become a reality. Much later, I learned that historical films were another wonderful way of encountering history.
I love this book by the late and much-honored Professor of Early Modern European history for its clarity, concision, elegance of expression, and boldness of interpretation.
It focuses on five outstanding films about slavery beginning as early as the 73-71 BC revolt of soldiers against ancient Rome led by the famed gladiator Spartacus and ending with the United States, Cuba, and other Caribbean countries in the late 19th century.
The author even insists, in a chapter on the film made from Toni Morrison’s ghost story novel, Beloved, that it is possible that some written historical fiction can teach us much about the past as traditional scholarly works of history.
The written word and what the eye can see are brought together in this fascinating foray into the depiction of resistance to slavery through the modern medium of film. Davis, whose book The Return of Martin Guerre was written while she served as consultant to the French film of the same name, now tackles the large issue of how the moving picture industry has portrayed slaves in five major motion pictures spanning four generations. The potential of film to narrate the historical past in an effective and meaningful way, with insistence on loyalty to the evidence, is assessed in five…
I am a film buff and history nerd who has brought her two passions together in the study of history on screen. So much of what we know is shaped by what we watch. It is crucial that we don’t dismiss historical TV shows and films as mere entertainment and instead work to understand how history is constructed and represented on screen. I have spent my postgraduate career exploring the screen’s unique capabilities for telling historical stories. I received my PhD from the University of Auckland and currently teach film studies at Media Design School, Aotearoa’s leading digital creativity tertiary provider.
Hughes-Warrington has done an amazing job of creating a history on-film sampler that brings together must-read authors and articles on this subject. The book, published in 2009, introduces readers to the core debates and differing approaches that emerged in the first thirty years of history on film scholarship. The introduction by Hughes-Warrington effectively situates anyone new to the field, providing an engaging overview as well as context for the following chapters. The edited collection features key thinkers such as Robert Rosenstone, Natalie Zemon Davis, Hayden White, Robert Burgoyne, and Marcia Landy.
Historical film studies is a burgeoning field, with a large and ever growing number of publications from across the globe. The History on Film Reader distils this mass of work, offering readers an introduction to just under thirty of the most critical and representative writings on the relationship between film and history. Films discussed include: Gladiator, Forrest Gump, Pan's Labyrinth, Titanic and Life is Beautiful.
Thematically structured, this Reader offers an overview of the varying ways scholars see film as contributing to our understanding of history, from their relationship with written histories, to their particular characteristics and their role in…
I’ve been interested in classic Hollywood movies for as long as I can remember, starting especially with the MGM musicals, the comedies of Abbott and Costello, and anything by Alfred Hitchcock. When I became a musicologist, I started to understand more about how the music of these films contributed to my interest in them, so it seemed like a natural research project for me to explore the music in more depth. I slowly realized that what made the films of the 1950s unique was the combination of new styles of acting with new styles of music. The films continued to suck me in and now my interest has resulted in this book.
Chion’s book is seminal in the study of film sound (not just music). He challenges the orthodoxy of favoring the visual aspects of film when we talk about it, arguing that we need to consider the sound of a film as well as its images.
He says that we don’t just watch films; we “audio-view” them. Chion draws his examples from an extraordinarily wide range of films. On the same page he might go from Godard to Indiana Jones to Singin’ in the Rain.
He doesn’t judge: if a popular action film is the best example for a point about sound-image relationships, he uses it. Chion introduces a lot of new terminology, but it is all carefully explained and illustrated with examples.
In Audio-Vision: Sound on Screen, French critic and composer Michel Chion reassesses audiovisual media since the revolutionary 1927 debut of recorded sound in cinema, shedding crucial light on the mutual relationship between sound and image in audiovisual perception. Chion argues that sound film qualitatively produces a new form of perception: we don't see images and hear sounds as separate channels, we audio-view a trans-sensory whole. Expanding on arguments made in his influential books The Voice in Cinema and Sound in Cinema, Chion provides lapidary insight into the functions and aesthetics of sound in film and television. He considers the effects…
I was lucky enough not only to get published in my thirties, I also got a film deal for those first two books. I was flown to Hollywood and it was all very grand. However, what they did to my stories in translating them into film scripts horrified me. And ruined them. And the films never got made. I started to look deeper into what ‘experts’ did, and it was awful. I became obsessed with how stories work, developed my own ‘knowledge gap’ theory, proved it through my Ph.D. research, and became a story consultant in the industry. Story theory has completely taken over my life and I love it!
Bordwell is an academic who is encyclopedic on Hollywood.
He has written several definitive works on Hollywood and despite their depth and learnedness, they are very readable and enjoyable to absorb. So when he turned his attention to ‘classical’ Hollywood story telling, I knew it would be a good one, and I was not disappointed.
Most story theorists have an approach that they are arguing for. Bordwell is analysing from a pure perspective, without ‘skin in the game’, so the result is balanced, critical, and highly enlightening for the aspiring writer.
Hollywood moviemaking is one of the constants of American life, but how much has it changed since the glory days of the big studios? David Bordwell argues that the principles of visual storytelling created in the studio era are alive and well, even in today's bloated blockbusters. American filmmakers have created a durable tradition - one that we should not be ashamed to call artistic, and one that survives in both mainstream entertainment and niche-marketed indie cinema. Bordwell traces the continuity of this tradition in a wide array of films made since 1960, from romantic comedies like "Jerry Maguire" and…
I am the Goldthwaite Professor of Rhetoric and Japanese at Tufts University. I’ve lived in Japan for 8 years beginning when I was 17 when I travelled to Tokyo and lived on my own, teaching English, and studying Japanese. I became a scholar of Japanese literature, and then in the 1990s became interested in Japanese animation (anime) and in animation in general. I’ve written five books on either Japanese literature or anime-related subjects, and I am currently working on a project comparing the animated films of the Walt Disney Studio with the films of Studio Ghibli.
This is a book for animation aficionados who really want to think about the nuts and bolts of animation. As someone with a tendency to revel in the world building of the finished product of animation, be it a Miyazaki movie or a Disney film, this book re-orients me to the materiality of the medium itself. And yes, traditional animation is a material medium! Frank looked at thousands of animation cells, literally frame by frame, and in her book provides us with a glimpse of the enormous labor, expertise, and occasional mistakes that go into creating even a seven-minute short subject. She brings back from the past the many women who were the inkers and in-betweeners in American animation studios and makes us realize the enormous effort (and tedium) that went into producing the fluid and flexible cartoons that Hollywood is known for.
At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.
In this beautifully written and deeply researched study, Hannah Frank provides an original way to understand American animated cartoons from the Golden Age of animation (1920-1960). In the pre-digital age of the twentieth century, the making of cartoons was mechanized and standardized: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called "cels") and then photographed in succession, a labor-intensive process that was divided across scores of artists and…
I’ve been interested in classic Hollywood movies for as long as I can remember, starting especially with the MGM musicals, the comedies of Abbott and Costello, and anything by Alfred Hitchcock. When I became a musicologist, I started to understand more about how the music of these films contributed to my interest in them, so it seemed like a natural research project for me to explore the music in more depth. I slowly realized that what made the films of the 1950s unique was the combination of new styles of acting with new styles of music. The films continued to suck me in and now my interest has resulted in this book.
Buhler and Neumeyer’s book is the most comprehensive introduction to film music. While it is meant primarily as a course textbook, it isn’t written in dull texbook-ese; rather, it is readable and engaging.
The authors include chapters on film music history, aesthetics, and theory, drawing from a wide range of films from all over the world. Historical developments and theoretical concepts are described with detailed close readings of various film scenes so that even the tricker ideas are easy to follow through the examples.
The authors will get you interested in all sorts of films you probably weren’t familiar with as they instill a deep understanding of how film music works.
Hearing the Movies, Second Edition, combines a historical and chronological approach to the study of film music and sound with an emphasis on building listening skills. Through engaging, accessible analyses and exercises, the book covers all aspects of the subject, including how a soundtrack is assembled to accompany the visual content, how music enhances the form and style of key film genres, and how technology has influenced the changing landscape of film music.
I am an artist-filmmaker, writer, and Professor of Experimental Film at the University for the Creative Arts in Canterbury, Kent, UK. I have worked at the London Filmmakers’ Co-op and BBC TV. I have been making films since 1974 and teaching since 1988. I have published extensively on Artists’ Film / Experimental Cinema. I have edited and contributed chapters to numerous other books and journals, including Millennium Film Journal, MIRAJ, Film Quarterly, Sequence, and others. I have completed over 70 single screen works in 16mm and video, gallery film and video installations, and multi-projector film performances. These have been screened worldwide.
A meticulously researched and detailed historical and critical account of Video Art from the 1960s onwards. Meigh-Andrews’ study rightly focuses not least on technology - cameras, analogue tape, editing systems, synthesisers, etc, given the high impact that continuously evolving technological developments have had in opening up new aesthetic possibilities for artists working with moving images.
A History of Video Art is a revised and expanded edition of the 2006 original, which extends the scope of the first edition, incorporating a wider range of artists and works from across the globe and explores and examines developments in the genre of artists' video from the mid 1990s up to the present day. In addition, the new edition expands and updates the discussion of theoretical concepts and ideas which underpin contemporary artists' video.
Tracking the changing forms of video art in relation to the revolution in electronic and digital imaging that has taken place during the last 50…
My husband, Robert McLaughlin, and I taught at Illinois State University for over thirty years. Our fathers both served in World War II (one in the Army Air Forces and one in the Navy) but would never talk about it. That spurred our interest in the war and what it was like. One way to know about it was through the popular culture of the time, such as movies, plays, radio, and books. As we watched more and more movies and gave presentations on them (we’re English professors by trade), we realized how these movies still affect how we think about the war.
Hollywood has always loved the way that British actors spoke, as well as the history, culture, and literature of Great Britain.
Since Britain became involved in the war years earlier than the Americans, the studios could celebrate British heroism and in so doing, point towards a time when the U.S. might be involved.
Many of the best-loved films of the time, such as Mrs. Miniver, The White Cliffs of Dover, and some of the Sherlock Holmes movies show the British collapsing class lines, which appealed to American sensibilities, and provided clues to how the Allies should behave in the midst of crisis.
This work examines the Hollywood "British" film - ie American features that were set in Britain, based on British history or literature and included the work of British producers, directors, writers and actors. "British" films include many of most popular and memorable films of the 1930s and 1940s, yet they have received very little individual attention from film historians and even less attention as a body of films. This work seeks to redress this by considering "British" films made during World War II, when Hollywood's interest in Britain was at a peak and "British" films were more numerous than every…
